After Past Lives, the bar for Celine Song was incredibly high, and perhaps for that reason Materialists doesn’t quite reach the same level of mastery. Even so, it’s a remarkable film that confirms the director as one of the most compelling voices in contemporary cinema. The story treads familiar ground: a romantic triangle, doubts about true love, and the human need not to be alone. But Song reshapes the genre with a sentimental, reflective tone that goes beyond conventional romantic comedy. It’s not just about who ends up with whom, but about what it means to seek affection in a world where everything seems measured by perceived value. The script is full of sharp dialogue, the kind that leaves you with more questions than answers. The characters, convincingly portrayed, feel real in their vulnerability and contradictions, making it easy for the audience to see themselves in them. The central trio—Chris Evans, Pedro Pascal, and Dakota Johnson—works beautifully, giving the story balance. Johnson in particular stands out, once again proving her growing strength as an actress, bringing both sensitivity and power to her role. Visually, the film maintains the elegance shown in Song’s debut, with a restrained but carefully crafted style. The inclusion of Cat Power songs adds to the melancholic atmosphere. In the end, Materialists may not be as flawless as Past Lives, but it has heart, ideas, and moments of genuine beauty. A film worth seeing, about love, desire, and the eternal need not to be alone.