Tag: MATCHMAKING

MATERIALISTS – Review

Dakota Johnson and Pedro Pascal in Celine Song’s MATERIALISTS. Photo credit: Atsushi Nishijima. Courtesy of A24

Does money matter in matters of love? Well, historically it has but if that is all that matters, then there is a problem. Dakota Johnson plays a modern matchmaker in New York City, working for a company that caters to affluent clients, in director/writer Celine Song’s in the romantic comedy MATERIALISTS. But MATERIALISTS is no typical rom-com but a smart, thought-provoking social commentary on love and materialism. Celine Song’s previous film, PAST LIVES, was a drama that thoughtfully and realistically explored how cultural differences and time impact romance, and the director turns that same insightful, honest style to a look at love and money through a more humorous but still thinking lens.

MATERIALISTS actually opens with a Stone Age man bringing flowers and useful tools to woo the cave woman of his dreams, an early materialist, but quickly flashes forward to present-day New York City, where matchmaker Lucy (Dakota Johnson) is strolling down the street when she spots a nice-looking, prosperous looking young man. She asks if he is single, and then gives him her business card, just in case he’s looking for the services of a high-end matchmaker.

He takes the card. This direct approach tactic works in part because Lucy is herself young and beautiful, but Lucy in not looking for love herself. In fact, she tells a co-worker that she is planning to stay single and “die alone” (a phrase we hear frequently throughout this film, and only an extremely rich man might tempt her to change her mind, revealing a hard-eyed materialist bent.

There is a lot of this materialist bent among her clients, who turn to this service to find candidates who match their criteria before taking a chance on falling in love. Lucy is successful at her job in part because she understands this and gently guides them to potential matches. Her job involves recruiting new clients like in that first scene, matching client’s backgrounds and interests, but also serving as a kind of therapist guiding them towards marriage. When a matchmaker at her firm, Adore, makes a match that results in marriage, the whole office celebrates the win.

Lucy has just made such as match, and of course she’s invited to the wedding. While she is pleased with the success and takes care of all her clients, some clients touch her more than others. Her current favorite client is Sophie (Zoe Winters), a sweet woman in her late 30s who has not yet found her perfect match. One thing Lucy likes about Sophie that she is realistic about potential matches, something not true for all her clients, some of whom have extensive wish-lists like they are ordering a custom-designed car instead of hoping to meet a romantic match.

Sophie has just come off a date the night before, and all sounds good from her end, but when Lucy calls the man she went out with declines a second date based on superficial things. Lucy has to both gently break this disappointing news to Sophie and find another date for her, which Lucy does with both skill and compassion, letting us see her warm heart and why she is so good at this job.

At the wedding of her successfully matched client, Lucy meets a man, Harry (Pedro Pascal), the brother of the groom, who is impressed with her success. Lucy offers her card and matchmaking services, but the brother already has a date already in mind – the matchmaker herself. Lucy tells her she ‘s not in the market, but agrees to see him, hoping to gain him as a client by convincing him she is not the match her needs.

While Lucy and Harry chat at the wedding, a server with the catering company walks up – her ex-boyfriend John (Chris Evans). She warmly embraces him and they agree to meet after the wedding to catch-up, before John goes back to work. Harry is taken aback a bit by the exchange but he doesn’t leave, and sets up a meeting with Lucy at a restaurant. A meeting to her, a date to Harry.

A flashback scene gives us the story of Lucy and John’s break-up, in which we learn he is a struggling actor, taking catering jobs between acting ones, and that his perpetually broke-ness is a big reason for their break-up.

Having set up this uneven romantic triangle, MATERIALISTS follows that romantic tale, as well as Lucy’s work with her clients and particularly that favorite client Sophie, and plot line that illustrates some of the downside and risks in this kind of arranged dating.

One of the strengths of MATERIALISTS is excellent dialog, which is remarkably insightful and realistic, as it was in Song’s previous film PAST LIVES. The well-written dialog helps lifts this film far above the usual romantic comedy, making it intelligent, honest and thought-provoking in a way you don’t expect in this genre. Not that MATERIALIST isn’t funny – it definitely is – but the humor is more sly, more satiric, and filled with social commentary on a society obsessed with the surface of things and people more that what is underneath.

A lot of the humor comes out how transactional everyone, or nearly everyone, is in their pursuit of the perfect love match. Some of this is both laugh-out-loud funny, and a bit chilling underneath, or even sad. Some clients try to game the system, with plastic surgery and other interventions, fudging facts, or comically ridiculous assessments of one’s own value in the dating “marketplace.” These things range from the silly to the sad, as the clients compete, as if love is a game where keeping score matters.

Dakota Johnson turns in what may be her best performance so far, as a woman who seems coolly in control of her own romantic life – mostly – yet is warm, human and soothing with her clients. She maintains this smooth, comforting surface most of the time, but dies eventually becoming exasperated with a few of clients with unrealistic expectations, reminding them they are looking for a human being, not ordering a custom car. Likewise, Pedro Pascal does well as the wealthy man who strews material temptations in the matchmaker’s path, while we remain unsure of the depth of his feelings, even if marriage is his stated goal. As John, Chris Evans continues to prove his skill as an actor, following up his amazing performance in A DIFFERENT MAN, with this thoughtful one, a man whose feelings aren’t in doubt but whose life seems a mess that he may not be able to fix.

The film does not directly mention traditional matchmaking, which many cultures have followed for generation, versus falling in love with someone unaided, and hopefully sharing values and dreams with them. But MATERIALISTS does explore some pitfalls of this modern form of matchmaking, where only a certain amount of information can be known about the character and background of potential matches, unlike the traditional form where, ideally, both parties are part of a community of which the matchmaker is also a part, and the depth of knowledge of each individual is much greater.

MATERIALISTS is a smart, pointedly-funny romantic comedy, with terrific dialog and a non-traditional plot, that offers a frank yet fascinating look at the ways of love, from a perspective where the practical and the magical need to be a certain balance to find true love and then true happiness.

MATERIALISTS opens in theaters on Friday, June 13, 2025.

RATING: 3.5 out of 4 stars

MATCHMAKING – St. Louis Jewish Film Festival Review

Nechama (Liana Ayoun, at center right) meets a not-too-promising date, in the romantic comedy MATCHMAKING. Courtesy of Israeli Films

MATCHMAKING, one of the best comedies at this year’s St. Louis Jewish Film Festival, is a romantic comedy about a young Orthodox Jewish who seems to have everything a family could want in a match – good family, good grades, good looks – but who is pining for a girl who, on paper, does not match up.

Yeshiva student Moti Bernstein (Amit Rahav) is a good student and obedient son from a respected Israeli Ashkenazi Jewish family who has reached the age to start looking for a wife. Moti is a catch who has it all – handsome, smart, tall, from a good Ashkenazi family – everything any matchmaker or Orthodox family would want. As an A-list candidate in the books of Orthodox matchmaking, Moti is a guy who should have his pick of any girl he wants for a bride. So what’s the problem? While the matchmaker is busily arranging dates to match this A-list find, Moti is secretly falling for his sister’s best friend, a girl no matchmaker would pick for this top prospect. But who decides it is a perfect match?

The delightfully funny, charming Israeli romantic comedy MATCHMAKING poses just this dilemma, where the heart and the head part ways in the matter of marriage, while giving us insights into the world of Orthodox Jewish matchmaking. MATCHMAKING leans into the comedy, with wonderful performances and a surprising amount of slapstick in this light Jewish take on Romeo and Juliet. The Israeli romantic comedy, directed and co-written by Erez Tadmor, has been a hit at numerous Jewish film festivals and a smash in Israel, with its charming performances, laugh-out-loud moments, and thoughtful look at the practice of matchmaking in the Jewish Orthodox community.

The matchmaker looks at their lists of people seeking a marriage and match people up according to family background and standing, the prospect’s personal characteristics and interests, and offers those prospective brides and grooms to their clients, with the approval of families. The couple then meet in a short series of dates, where they ask each other questions and get a sense of the potential spouse. But ultimately, it is the couple who decide. If he thinks she’s his match, he proposes and the wedding is on. If either thinks it won’t work, he or she can turn down further dates.

Eager to please his parents and looking forward to the marriage that will start his adult life, Moti dutifully goes on his arranged dates with some beautiful young women, including a gorgeous American Jewish young woman from a rich family. She is a rare catch, and marriage to her would mean his future would be secured and comfortable, and he would be free spending his time as a scholar, studying the Torah, the highest, most prestigious ambition in his community. Yet Moti’s eye is repeatedly drawn to his younger sister’s friend Nechama (Liana Ayoun).

He’s known this girl practically all his life, yet now when he is supposed to be deciding between one perfect girl and another, he keeps thinking about her instead of the prospects he’s dating. She’s pretty, she’s smart, she’s serious – all things Moti admires – but she’s also half-Sephardic, with a mother from North Africa, which in Israeli Orthodox society means her family is nowhere near his equal. She’s on no one’s A-list, and the only Ashkenazi she could hope to be paired with is Moti’s short, asthmatic, socially-awkward schoolmate . It’s a mismatch in the matchmakers’ books.

Moti is a dutiful son and tries to focus on his obligation to pick a spouse that pleases his family, but what about his own heart? Will he forget her with time, as others tell him, especially if his choice lands him in the lap of luxury? What should Moti do – and what’s more, what can he do?

The cast is charming and the love-and-marriage conundrum allows the film to gently explore the limits of matchmaking, where family standing and parents’ preferences rather than the young person’s feelings that determine what is a perfect match. The film gently discusses the pros and cons of the system – it’s success in pairing like to like backgrounds for a solid marriage versus what can go wrong if couple’s families are too different.

As Moti, Amit Rahav gives a strong performance as the appealingly conflicted young man, trying to be the perfect son but also aware of his growing feelings. As Nechama, Liana Ayoun is appealing as well, but someone who is more practical and even skeptical, and looks at the situation with less emotion and with a wary eye on Moti’s feelings, wondering if they might fade. Even if they both want this match – by no means clear – what would be the price be for their families?

As the two young people and their families dance around the problem, MATCHMAKING throws in little comic relief bits as we explore the serious side of the issue. Some of that comic relief comes from one of Moti’s classmates, a shy, awkward guy with asthma who is not on anyone’s A list despite his good family. While Moti goes on his dates, Nechama goes on a few of her own, with no winning prospects but some comic moments. On the other hand, a male matchmaker, Baruch (a wonderful warm and funny Maor Schwietzer), who never married and still lives at the yeshiva, revisits his own tragic romantic history.

MATCHMAKING weaves all these elements – thoughtful, humorous, romantic – into a wonderful, funny and warm tapestry that leads to insights on the challenges of love and marriage.

MATCHMAKING, in Hebrew with English subtitles, plays the St. Louis Jewish Film Festival on Sunday, Apr. 14 at 3:30pm at the B&B West Olive Cinema in Creve Coeur.