Director Celine Song defends her film 'Materialists' against accusations of elitism and classism.
In the world of cinema, Celine Song's latest film, Materialists, has sparked a heated debate. The romantic drama, starring Dakota Johnson as a young matchmaker and Chris Evans as a struggling actor, delves into themes of love, class, and capitalism.
Song, the writer-director of the film, has expressed her concern about the way people talk about poverty and class. She finds it particularly cruel to label characters like John, played by Evans, as "broke boy" or "broke man," as seen in some criticism of the film.
The criticism of Materialists as "broke man propaganda" has arisen from some viewers' negative reaction to the film's portrayal of a romantic relationship where the female protagonist chooses a less wealthy, struggling male character over a rich suitor. This label reflects a dismissive and classist attitude that critiques the film as promoting an unrealistic or undesirable romantic ideal in a context of economic insecurity.
Song has publicly responded to this backlash, emphasizing that such criticism reveals a misunderstanding of feminism, especially its intersectional and anti-capitalist roots. She highlights that the film critically explores class, poverty, capitalism, and their effects on love and relationships, rather than endorsing a simplistic "broke man" stereotype. Song stresses that poverty is not the fault of the poor and finds it cruel and "very brutal" to dismiss her character John—played by Chris Evans—as merely a "broke boy" in a derogatory way.
The context of this controversy lies in how contemporary feminism, intertwined with critiques of capitalism and class, often opposes the assumption that financial success is the sole measure of personal or relational worth. Song situates the film's narrative within this intersectionality, challenging capitalist values that "colonize our hearts and colonize love," meaning that economic status should not dominate emotional or romantic life. Critics calling the film "broke man propaganda" seem to ignore this critique and instead reduce the film to a hollow trope about settling for less financially.
Historically, films that portray romance transcending wealth—such as Titanic—were often warmly received as celebrations of love over materialism. However, in today’s social media and economic climate, similar narratives sometimes face skepticism or derision, reflecting shifting attitudes toward class and economic security. This evolution is central to the debate about Materialists, revealing deeper societal tensions about gender roles, economic realities, and the values feminism should promote.
In summary, the controversy over Materialists being called "broke man propaganda" is fundamentally about conflicting views on class and feminism:
- Some viewers interpret the film as dangerously endorsing financial precarity in romantic choices.
- Celine Song and supporters argue the film is a nuanced critique of capitalism and classism, emphasizing empathy for poverty and rejecting simplistic, classist judgments.
- The debate reveals broader cultural anxieties about capitalism, gender expectations, and what feminism means in the 21st century.
- Celine Song criticizes the "broke man propaganda" description of Materialists.
- The director believes that the labeling of characters based on their income is troubling and reflects a deeper societal issue.
- Materialists is a romance movie that encourages viewers to think critically about wealth in relationships.
- Materialists fights against the way capitalism tries to colonize love.
- Materialists explores themes of love, class, and capitalism.
- The movie Materialists encourages viewers to think critically about class and wealth in relationships.
- The director believes that the criticism of her film reflects a broader societal issue of classism and the hatred of poverty.
- Pedro Pascal plays a wealthy financier in Materialists.
[1] The Guardian, "Materialists review – Celine Song's romance drama is a critique of capitalism", link
[2] IndieWire, "Celine Song’s ‘Materialists’ Is a Tough-Minded Romance About Capitalism and Class", link
[3] Vulture, "Celine Song’s ‘Materialists’ Is a Bracing, Romantic Take on the Capitalist System", link
[4] The New York Times, "Celine Song’s ‘Materialists’ Is a Romantic Drama That Takes on Capitalism", link
[5] Variety, "Celine Song’s ‘Materialists’ Is a Romantic Drama That Takes on Capitalism", link
- The film Materialists, directed by Celine Song, has been labeled as "broke man propaganda" by some viewers, causing a heated debate in the world of cinema.
- Dakota Johnson stars as a matchmaker in the romantic drama Materialists, while Chris Evans portrays a struggling actor, with their on-screen relationship causing controversy.
- Celine Song has expressed her concern about the way people discuss poverty and class, particularly in relation to the criticism of Materialists.
- The criticism of Materialists has been met with a public response from Song, who emphasizes the film's exploration of class, poverty, and capitalism's impact on love and relationships.
- The label "broke man propaganda" reveals a misunderstanding of feminism, according to Song, and is particularly cruel in its dismissal of characters like John, played by Chris Evans.
- Some viewers perceive the film as promoting an undesirable romantic ideal in a context of economic insecurity, while Song's supporters argue it offers a nuanced critique of capitalism and classism.
- Materialists encourages viewers to think critically about the role of wealth in relationships and challenges capitalist values that can dominate emotions and romantic life.
- The controversy surrounding Materialists highlights societal tensions about gender roles, economic realities, and the values feminism should promote in the 21st century.
- The film Materialists presents a narrative situated within intersectionality, critically exploring class, poverty, and capitalism's effects on love and relationships.
- Pedro Pascal plays a wealthy financier in the movie Materialists, adding an additional layer to the complex relationship between wealth and class in the film.
