Celine Song, the acclaimed filmmaker behind “Materialists,” has spoken out against criticism labeling her new romance film as “broke man propaganda,” calling such commentary “very cruel” and deeply concerning.

In a candid interview with Refinery29, Song addressed the controversial reaction to her film’s portrayal of the relationship between Lucy, played by Dakota Johnson, and John, portrayed by Chris Evans. The criticism has particularly targeted the character of John, a struggling actor who competes with a wealthy financier for Lucy’s affections.

“I think that it doesn’t make me laugh, because it really is disappointing to me,” Song explained. “There is a very real confusion about feminism and the history of feminism. Through intersectionality, so much of feminism has been about anti-corporate and anti-capitalist and, of course, it was always at the forefront of fighting capitalism.”

The director, whose previous work includes the critically acclaimed “Past Lives,” expressed particular concern about the classist undertones in the criticism. “I’m very concerned about the way that we talk about people who are poor,” she said, emphasizing that “poverty is not the fault of the poor.”

“Materialists” centers on Lucy, an ambitious New York City matchmaker caught in a love triangle between Harry, a wealthy financier played by Pedro Pascal, and her ex-boyfriend John, who struggles financially as an actor. The film explores themes of love, ambition, and the influence of material wealth on relationships.

Song took particular issue with derisive terms like “broke boy” or “broke man” being used to describe Evans’ character. “It is very brutal. I find it very cruel to talk about John as a character who loves Lucy, and who is a beautiful character being played beautifully by Chris, to talk about him in such cruel terms,” she stated.

The filmmaker pointed to a broader cultural problem reflected in these responses. “There is something about the classism of that, the kind of hatred of poverty, the hatred of poor people,” she noted. “I think that is a very troubling result of the way that the wealthy people have gotten into our hearts about how it’s your fault if you’re poor, you’re a bad person if you’re poor.”

The controversy highlights ongoing tensions in how romance narratives intersect with economic realities in contemporary media. While traditional rom-coms have often glossed over financial disparities or presented wealth as aspirational, newer films like “Materialists” attempt to engage more directly with class dynamics in relationships.

Song’s comments also reflect the changing landscape of feminist discourse in popular culture, particularly regarding the relationship between feminism and capitalism. Her defense of the film speaks to her intention to create a narrative that challenges rather than reinforces materialistic values.

“It makes me feel very concerned that anybody would talk about my movie and my characters and to really think about it in such classist terms,” Song concluded. “The whole movie is about fighting the way that capitalism is trying to colonize our hearts and colonize love.”

The discussion around “Materialists” joins a larger cultural conversation about how economic inequality shapes romantic relationships and life choices. As streaming platforms continue to expand the reach of independent films exploring these themes, filmmakers like Song are bringing nuanced perspectives on class and romance to wider audiences.

The film, featuring the star power of Dakota Johnson, Chris Evans, and Pedro Pascal, has generated significant attention not only for its cast but also for its willingness to engage with socioeconomic realities within the romance genre.