Movies

From Matchmaking to Materialists: Celine Song’s Journey

BBG News

About ten years ago, before Celine Song earned two Oscar nominations for her first movie, “Past Lives,” she was a struggling playwright trying to find various jobs just to get by. She didn’t possess the talent for creating fancy coffee designs like a barista and couldn’t secure a consistent babysitting job without prior experience. However, thanks to advice from a friend who was already in the business, Celine landed a job as a matchmaker in Manhattan.

At first glance, a simple-minded being could think that Song’s meetings with clients searching for their soulmates revolved around discussing shared hobbies, work-life balance, or family planning. However, the initial consultation was actually based on mathematical criteria: They specified their preferences regarding height, income, age, and yes, race. “Every man requested ‘fit.’ What they meant was a Body Mass Index of 20, which is just one level above underweight,” Song recalls. “Women wanted someone who was 6 feet tall. My joke was that person would be 5’7” by the time you turn 90. And what is the purpose of marriage if not to grow old together? All these numbers have no connection with that.

She worked at the job for only half a year, yet she felt certain immediately afterward that she would pen her reflections on the experience. “In those six months,” she explains, “I learned more about people than I had during any other phase of my life. I knew things about them that even their therapists didn’t, as they shared their innermost feelings with me in a way that was direct and unbiased.

The second film from both the writing and directing perspective of Song, titled “Materialists” (releasing on June 13), revolves around Lucy, portrayed by Dakota Johnson. This character is a skeptical matchmaker who sees her job as similar to an analyst evaluating clients’ worth in the dating market. The disparity between what they claim they desire – a lifelong partner – and their superficial criteria provides comic relief amidst scenes depicting Lucy’s quest for love. Those familiar with “Past Lives” may recognize similar themes, as both stories center around a woman grappling with her past and future. In Song’s autobiographical debut, the character played by Greta Lee – representing Song herself – is prompted to reflect on her childhood in Korea when an old crush reappears; she struggles to harmonize that part of herself with her new identity as a New York artist married to a white man. In “Materialists“, Lucy finds herself torn between a financially struggling yet devoted ex (Chris Evans) and a wealthy, charming suitor (Pedro Pascal), often referred to in her profession as a “unicorn.

While Past Lives offered dreamy portrayals of romantic connections on a spiritual plane, Materialists, as its title indicates, delves into practical matters of economics. Financial disputes strain Lucy’s relationship with Evans, an actor struggling financially who deeply comprehends her. Much like Scarlett O’Hara before her, Lucy vows she will never be impoverished again. To ensure her financial security, her most rapid solution is to marry wealthily.

Lucy critically evaluates both her clients and herself using a straightforward, no-nonsense approach that barely acknowledges the enchantment of attraction. As Song explains during an April interview at A24’s offices, we often discuss figures in various aspects of life – cars, homes, jobs. The film Materialists portrays discussions about finance and love as explicit rather than implied. Although marriage was previously more openly a financial agreement, Song states that it hasn’t truly vanished. She aimed to depict our progression – or lack thereof – in this area and how our commodification of individuals persistently impacts “something more divine and sacred: love”. She wanted to be truthful about this.

In these traditional British love stories, the marriage agreement often takes center stage, acting as a guide for the plot, particularly for those who embrace a materialistic viewpoint. For instance, Mr. Darcy in “Pride and Prejudice” is an ideal man not just because he’s Elizabeth Bennet’s soulmate but also due to his ability to alleviate her family’s financial burdens. E.M. Forster’s “Howard’s End,” on the other hand, focuses more on who will inherit a specific property rather than on emotional intimacy. As Song explains, the female characters in these narratives are often faced with difficult choices between cold practicality and passionate romance. This is the essence of the film’s theme.

In the ’70s and ’80s, as more women began joining the workforce, financial concerns took a back seat to emotional connections in popular culture portrayals of romance. Characters like Harry and Sally in “When Harry Met Sally” or Bridget Jones’ suitors didn’t seem to have money worries, but Song argues that financial stress was still significant. For instance, Nora Ephron’s movie “You’ve Got Mail” creates tension through Tom Hanks’ character, the owner of a large bookstore chain, threatening Meg Ryan’s small children’s bookshop. Song points out that this is essentially a film about gentrification. Similarly, movies like “Working Girl” and “Crazy Rich Asians” dealt with class concerns.

As a discerning moviegoer, I’ve often noticed an intriguing trend in films: the female leads are inexplicably wealthy, and it seems fate has bestowed wealth upon the male protagonists as well. Interestingly, these women frequently have reservations about their suitors’ affluence, but eventually soften once they prove themselves worthy, echoing the Darcy archetype. Take for instance, films like “The Notebook”, “Titanic”, and “The Princess Bride” – where the heroines choose the penniless man they adore over the wealthy, often insipid or reprehensible, counterpart.

In the film “Materialists”, money is not just a status symbol but a coveted goal for many women. For men, it serves as a powerful magnet to draw in potential partners. Early in the narrative, Lucy and her colleague ponder a medical procedure where doctors deliberately break a man’s legs in multiple places to augment his height by up to six inches. This controversial operation is excruciating, requires lengthy rehabilitation, and carries a hefty price tag of over $100,000. Yet, Lucy, with her world-weary wisdom, deems the investment more than worthwhile, for it could significantly broaden the romantic horizons of a shorter bachelor.

I confess to Song that I found it challenging to connect with Lucy’s character, a contemporary woman who openly stated she would only marry a wealthy man. Given her potential to generate wealth through her own career, it’s hard for me to imagine that Lucy couldn’t afford the expensive Tribeca apartment owned by Pascal’s character. In this economic climate, I find myself questioning my right to pass judgment on her choices.

Song points to my wedding ring and queries about the age I was when I first encountered my spouse. At that time, I was 23 years old. Song, who is currently 36, crossed paths with her husband, screenwriter Justin Kuritzkes known for ‘Challengers’ and ‘Queer’, at the age of 24. Their encounter occurred when they both received a fellowship from the Edward F. Albee Foundation. They lived together in the Montauk barn where that organization houses its writers, a serendipitous meet-cute that would later be featured in ‘Past Lives’.

At that point, the practical aspects were far from my thoughts. We were contented writers who enjoyed meals from the halal food cart. As a woman of that age, you still hold onto the hope of finding love on the street. By your 30s, it becomes evident how much wealth people have accumulated. You come to realize certain necessities are needed. There’s a change in perspective that occurs, she explains, outlining her perspective on dating. “If you ask single friends what they seek, they might initially mention height,” she says.

Song has spent considerable time conversing with individuals regarding their romantic affairs. Those who learn she acts as a matchmaker often seek her guidance on locating a companion, while those who’ve watched her films wish to share their personal love experiences. “It’s an honor,” she expresses. “The wisest individuals globally begin discussing love, and it makes them sound like fools,” she remarks. “When you inquire about why someone loves their partner, they explain it’s due to a minor action, not because that person fit certain criteria.

Song continues to pen songs about love due to its universal allure and enigmatic nature. However, she sometimes frets over the genre since studios tend to release romances directly on streaming platforms, even though there are rare exceptions such as last year’s hit movie “Anyone But You“. In one instance of the film “Materialists“, a male character downplays dating by saying it’s not significant. Lucy responds with a retort, “Is that just women’s trivial stuff then?

Song expresses candidly that this is a significant matter, using colorful language often associated with romantic films. People refer to romances as “chick flicks,” but she acknowledges the underlying misogyny in such categorization. When others dismiss its importance, she questions their perspective, asking, “Not as important as what?”

In our everyday lives, we may not face situations where we save the world, but we all understand love and its power. It’s the most profound drama we experience, and it holds immense significance. We should engage in more discussions about it because it’s essential to our existence.

In my perspective as a movie reviewer, “Materialists” delves into a complex emotional landscape reminiscent of the film “Past Lives,” albeit with a unique twist on the classic love triangle trope. However, when I brought up this comparison to Song, she rolled her eyes and corrected me emphatically. She explained that while “Past Lives” may have been marketed as a love triangle, it’s more profoundly about an individual’s past, present, and future. Laughing at her own exasperation, she pointed out that the concept of love triangles is deeply ingrained in every romance film, serving as the foundation for the will-they-won’t-they tension.

Lucy finds herself in a challenging predicament – captivated by two incredibly attractive men. This situation outshines the frustrating dating world where her clients face rejection based on trivial reasons. The movie sometimes leans towards cynicism, and being a matchmaker might make anyone disillusioned. However, Song believes she is fundamentally a romantic at heart. She questions the value of her pursuit, wondering why she can’t simply choose someone who is 6 feet tall and earns a specific amount of money. Why should she search for something that seems elusive and has only brought her pain in the past? Yet, she knows from personal experience that it is indeed worth the struggle. She wishes it wasn’t, as then they could just give up. But they can’t quit.

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2025-05-06 15:06

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