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The Following is taken from the Wikipedia page for Materialists, a 2025 movie by Celine Song

Materialists is a 2025 American romance film written and directed by Celine Song. The film stars Dakota Johnson, Chris Evans, Zoë Winters, Marin Ireland, Louisa Jacobson, and Pedro Pascal. Set against the backdrop of New York City's luxury-driven dating culture, it follows a love triangle between a matchmaker, her aspiring actor ex-boyfriend, and a charming billionaire.

The project marks Song's second feature following Past Lives (2023), and continues her exploration of intimacy, identity, and modern relationships. Produced by Killer Films and 2AM, the film was released in the United States by A24 on June 13, 2025 and distributed internationally by Sony Pictures Releasing International. It received positive reviews from critics.

Cast
Dakota Johnson as Lucy
Chris Evans as John
Pedro Pascal as Harry Castillo
Zoë Winters as Sophie
Marin Ireland as Violet
Dasha Nekrasova as Daisy
Louisa Jacobson as Charlotte
Sawyer Spielberg as Mason
Eddie Cahill as Robert
Joseph Lee as Trevor
John Magaro as Mark P. (voice)
Baby Rose as Wedding Singer

Box office
As of June 15, 2025, Materialists has grossed $12 million in the United States and Canada, and $3.5 million in other territories, for a worldwide total of $15.5 million.[4]

In the United States and Canada, the film was released alongside How to Train Your Dragon and was projected to gross $7–9 million from 2,844 theaters in its opening weekend.[3][16] The film made $5 million on its first day, including $1.5 million from Thursday night previews. It went on to slightly overperform, debuting to $12 million and finishing in third behind How to Train Your Dragon and holdover Lilo & Stitch.[17]

Critical response
On the review aggregator website Rotten Tomatoes, 86% of 147 critics' reviews are positive. The website's consensus reads: "A mature deconstruction of the conventional rom-com, Materialists provides its trio of swoon-worthy stars some of their meatiest material yet while reaffirming Celine Song as a modern master of relationship dramas."[18] Metacritic, which uses a weighted average, assigned the film a score of 70 out of 100, based on 38 critics, indicating "generally favorable" reviews.[19] Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale, while those surveyed by PostTrak gave it a 69% positive score.[17]

Christy Lemire of RogerEbert.com described the film as “clear-eyed, even as it makes the happily-ever-after seem possible after all,” praising its performances and character depth.[20] In Variety, Owen Gleiberman wrote that the film offers “sharp and serious social romantic drama” and commended its “telling observations about the way we live now.”[21]

Entertainment Weekly’s Maureen Lee Lenker called the film a “sly, yet charming romance,” likening Celine Song’s work to Jane Austen’s in terms of its cultural wit and romantic nuance.[22] Manohla Dargis of The New York Times complimented Song’s continued interest in time, emotion, and identity, calling the film “formally inventive, emotionally curious, and thoroughly adult.”[23]

Richard Lawson of Vanity Fair wrote that the film’s strength lies in its "topical boldness", with New York City rendered as both a real and romanticized cityscape.[24]

Common Sense Media praised its thoughtful storytelling and suitability for mature teens and adults, highlighting its emotional realism and mature relationship themes.[25] People referred to the film as “elusive but not inscrutable,” adding that it is “delicately playful, rarely sentimental.”[26]

Justin Chang of The New Yorker appreciated the vividness of the dialogue but noted that the film’s second half loses momentum due to an emotionally underdeveloped subplot.[27] The A.V. Club offered a split verdict, with one critic praising its clever blend of old-school and modern romance, while another felt it lacked intimacy compared to Song’s earlier film Past Lives (2023).[28]

NPR’s Aisha Harris observed that while Materialists has “moments of insight,” it is occasionally “undone by its own ambition,” particularly in juggling commentary and romance.[29] Screen Rant noted that the film's pace may feel meandering to some viewers and that its social critiques occasionally overshadow emotional investment.