‘Materialists’: Celine Song’s Film Sparks Debate on Love, Class, and Modern Dating

Celine Song’s romantic comedy “Materialists” has become the unexpected center of a cultural conversation about love, wealth, and social values, drawing both critical acclaim and controversial reactions from viewers.

The film stars Dakota Johnson as Lucy, a high-powered Manhattan matchmaker faced with choosing between two suitors: the wealthy and successful Harry (Pedro Pascal) and the struggling actor John (Chris Evans). While the film presents this classic romantic dilemma, it ultimately leads Lucy to choose John, with whom she shares history, chemistry, and an authentic connection that transcends material considerations.

This narrative choice has sparked a surprising backlash on social media, where some viewers have labeled the film “broke man propaganda” for its portrayal of a successful woman choosing a partner who splits bills, has roommates, and lacks the trappings of wealth. The criticism reflects a troubling undercurrent of class-based judgment in contemporary dating culture.

Song, who previously directed the acclaimed “Past Lives,” has responded thoughtfully to these reactions. In an interview with Refinery29, she expressed disappointment at what she sees as a fundamental misunderstanding of feminism’s historical alignment with anti-capitalist and anti-classist values.

“It’s very cruel to talk about John as a character who loves Lucy, and who is a beautiful character being played beautifully by Chris, in such cruel terms as ‘broke boy’ or ‘broke man,'” Song remarked. “I think there is something about the classism about that – the hatred of poverty, the hatred of poor people, it’s not their fault that they’re poor – that is a very troubling result of the way wealthy people have gotten into our hearts.”

The director’s response highlights how the film intentionally challenges materialistic expectations in relationships. Drawing from her own experience working as a matchmaker, Song crafts a narrative that examines how modern dating has become increasingly transactional, with potential partners evaluated against checklists of height, salary, social class, and age.

“Materialists” presents a heightened but recognizable version of the contemporary dating landscape, particularly in status-conscious urban environments like New York City. The film’s exploration of Lucy’s professional world reveals how dating preferences have become increasingly commodified and filtered, raising questions about authenticity in modern relationships.

As the story progresses toward its conclusion, Song delivers a message that contradicts algorithmic approaches to love: despite all attempts to filter potential partners by tax brackets, apartment specifications, or other material metrics, genuine connection ultimately prevails.

The controversy surrounding the film reflects broader tensions in modern dating culture. As economic pressures mount and social media amplifies materialistic values, “Materialists” offers a counter-narrative that prioritizes emotional compatibility over financial status. This approach has clearly touched a nerve in an era where dating apps encourage users to sort potential matches by increasingly specific criteria.

Film critics have largely embraced Song’s sophomore directorial effort as both entertaining and thought-provoking, with particular praise for the chemistry between Johnson and Evans. The film continues Song’s exploration of human connection that began with “Past Lives,” though with a different cultural lens and more comedic approach.

“Materialists” arrives at a cultural moment when conversations about wealth disparities, gender expectations, and the commodification of relationships have intensified. By presenting a romance that transcends material considerations, the film invites viewers to examine their own values and biases when it comes to love and partnership.

The film is currently in theaters nationwide.