النص 🔗
WEBVTT
1
00:00:00.240 --> 00:00:03.720
The film opens in the glittering glass loft of Aliyah
2
00:00:04.040 --> 00:00:09.039
Dakota Johnson, a tastefully aloof interior designer in her mid thirties.
3
00:00:09.679 --> 00:00:14.839
Morning sun filters through minimalist blinds, she prepares her signature
4
00:00:14.960 --> 00:00:19.960
Almond Milk, Macha scrolls Instagram, then checks the live security
5
00:00:20.000 --> 00:00:23.679
kim feed for a dog she's watching, one she doesn't own.
6
00:00:24.480 --> 00:00:27.600
We learn Aliyah makes her living furnishing homes for the
7
00:00:27.679 --> 00:00:32.119
ultra rich and curating personal esthetics for clients too wealthy
8
00:00:32.399 --> 00:00:36.600
to know their own taste. She's in a transactional relationship
9
00:00:36.600 --> 00:00:41.359
with Edward Chris Evans, a tech billionaire recently divorced, who
10
00:00:41.399 --> 00:00:47.200
offers her his black card and emotional unavailability. Aliah's friends,
11
00:00:47.560 --> 00:00:52.039
Lena Zoe Chaw, a frustrated sculptor married to a hedge funder,
12
00:00:52.479 --> 00:00:57.280
and cam Pedro Pascal, a flamboyant art dealer with mounting debts,
13
00:00:57.640 --> 00:01:02.159
complete the triangle of hyper styleed survivalists in a world
14
00:01:02.280 --> 00:01:07.519
ruled by appearances. Act one, The Proposal and the Proposition.
15
00:01:08.319 --> 00:01:12.200
Aliyah is offered an enormous new project to design a
16
00:01:12.280 --> 00:01:17.159
penthouse for an anonymous investor worth eight point two million
17
00:01:17.239 --> 00:01:21.120
dollars it's a dream job, but there's a catch. She'll
18
00:01:21.159 --> 00:01:24.439
have to do it on speck as a test of vision.
19
00:01:25.200 --> 00:01:30.000
Edward shrugs. If it doesn't pay off, I'll cover it Simultaneously,
20
00:01:30.480 --> 00:01:35.920
Edward proposes not marriage, but a more permanent arrangement. She
21
00:01:36.120 --> 00:01:38.840
move in with him, become the public face of his
22
00:01:39.040 --> 00:01:44.480
post divorce rebrand, like a muse, but tax deductible. Aliyah
23
00:01:44.599 --> 00:01:49.079
doesn't say yes, but she doesn't say no. Lena is disgusted,
24
00:01:49.560 --> 00:01:54.760
Cam is jealous, and when Aliyah discovers that Edward's ex wife, Vanessa,
25
00:01:55.239 --> 00:01:58.879
still controls the majority of his assets, she begins to
26
00:01:58.959 --> 00:02:04.480
wonder who owns what in their relationship Act Too reversal
27
00:02:04.560 --> 00:02:09.039
of fortunes. While working on the Penthouse, Aliyah meets Julian
28
00:02:09.400 --> 00:02:13.800
played by Paul Meskel, a sustainability architect who lives in
29
00:02:13.840 --> 00:02:18.560
a rent stabilized walk up in Brooklyn. He's kind, principled,
30
00:02:18.800 --> 00:02:23.560
slightly self righteous, and immediately immune to her charm. Their
31
00:02:23.639 --> 00:02:28.199
slow burned chemistry builds across scenes filled with charged silences
32
00:02:28.560 --> 00:02:34.280
and unexpected vulnerability. He challenges her worldview. You don't want love,
33
00:02:34.680 --> 00:02:37.159
You want a man who makes you feel less alone
34
00:02:37.280 --> 00:02:42.759
in your showroom Meanwhile, Edward grows possessive. He installs a
35
00:02:42.879 --> 00:02:48.080
gift wall in her apartment, handbags, shoes, jewelry arranged like
36
00:02:48.240 --> 00:02:54.680
museum pieces. It's suffocating. Cam's financial life collapses. He sued
37
00:02:54.719 --> 00:02:58.759
for selling fake art. Lena leaves her husband and begins
38
00:02:58.840 --> 00:03:03.560
exploring her artistics stick identity again, sculpting surreal renderings of
39
00:03:03.599 --> 00:03:09.520
designer handbags in clay. Aliah's world begins to wobble. Act three,
40
00:03:10.039 --> 00:03:14.039
The Reckoning. The Penthouse Project is unveiled in a private
41
00:03:14.080 --> 00:03:18.759
show attended by Manhattan's elite. It's stunning, a hollow space
42
00:03:18.879 --> 00:03:24.439
of mirror, polished surfaces and curated emptiness. Critics call it haunting,
43
00:03:24.840 --> 00:03:29.280
but Julian refuses to attend. He texts, there's nothing human
44
00:03:29.360 --> 00:03:33.560
about your rooms. Aliyah breaks things off with Edward, returning
45
00:03:33.680 --> 00:03:37.560
every single item he's given her. She tries to visit Julian,
46
00:03:38.159 --> 00:03:42.919
only to find his apartment empty. He's moved left no note.
47
00:03:43.080 --> 00:03:48.120
Cam is indicted. Lena hosts her first solo exhibition. Aliah
48
00:03:48.120 --> 00:03:51.439
walks the gallery alone, staring at a sculpture of a
49
00:03:51.520 --> 00:03:56.319
Chanel purse melting into a pool of concrete. Final sequence,
50
00:03:56.800 --> 00:04:00.639
what's left when it's gone. In the closing scenes, Alia
51
00:04:00.719 --> 00:04:04.879
sits alone in the now empty penthouse she designed. The
52
00:04:04.960 --> 00:04:09.199
camera lingers as she dismantles at piece by piece, unscrewing
53
00:04:09.280 --> 00:04:13.159
light fixtures, rolling up rugs. The view from the sixty
54
00:04:13.199 --> 00:04:17.639
seventh floor sparkles. She takes one photo of the bare
55
00:04:17.720 --> 00:04:23.160
room with only sunlight and shadow remaining, then she walks out,
56
00:04:23.519 --> 00:04:30.279
cut to black. Character analysis Aliyah Dakota Johnson a woman
57
00:04:30.480 --> 00:04:34.800
caught between image and intimacy. Her journey is subtle. She
58
00:04:34.879 --> 00:04:39.560
never weeps or explodes, but she changes deeply. Johnson plays
59
00:04:39.600 --> 00:04:44.519
her with icy restraint and flashes of warmth. Edward Chris
60
00:04:44.560 --> 00:04:51.120
Evans charismatic, handsome, transactional. Evans leans into the unsettling charm
61
00:04:51.199 --> 00:04:54.160
of ultra rich men who think love is an app
62
00:04:54.319 --> 00:04:58.399
or asset. Julian Paul mus Stou the heart of the
63
00:04:58.480 --> 00:05:02.480
film's moral compass,
Load full transcript
but never preachy. His absence in the
64
00:05:02.519 --> 00:05:08.000
final act says more than any breakup could. Cam Pedro Pascal,
65
00:05:08.439 --> 00:05:13.360
a tragic figure disguised as comic relief. His unraveling provides
66
00:05:13.439 --> 00:05:17.680
one of the film's most affecting arcs. Lena Zoe chaw
67
00:05:18.240 --> 00:05:22.680
Art as therapy, rage, rebirth. Her character is an ode
68
00:05:22.720 --> 00:05:29.120
to finding truth and failure. Themes in symbolism, materialism as identity.
69
00:05:29.720 --> 00:05:33.600
Every object in the film is a metaphor, gifts as control,
70
00:05:34.000 --> 00:05:39.839
homes as Avatar's style as self protection, capitalism and romance.
71
00:05:40.319 --> 00:05:45.800
Can love survive when one partner owns the other's time? Space, wardrobe?
72
00:05:46.879 --> 00:05:51.360
Esthetics versus segstance. The film asks, if you design a
73
00:05:51.439 --> 00:05:53.920
perfect room but no one lives in it, is it
74
00:05:54.040 --> 00:06:00.399
still beautiful? Disappearance and reclamation, Julian's vanishing, Cam's color lapse,
75
00:06:00.800 --> 00:06:06.560
Lina's transformation all reflect the dissolution of fake identities. Visual
76
00:06:06.600 --> 00:06:11.240
style Selene Song brings a cold, precise lens to Manhattan.
77
00:06:11.720 --> 00:06:15.399
Color grading shifts from sterile white and gray tones to
78
00:06:15.519 --> 00:06:20.279
warmer hues as a Leah moves towards authenticity. Notable motifs
79
00:06:20.879 --> 00:06:26.040
reflections in Skyscraper Glass, repeated close ups of hands unwrapping
80
00:06:26.160 --> 00:06:31.600
luxury goods, stillness interrupted by sudden motion, a dog leaping,
81
00:06:32.000 --> 00:06:40.439
a sculpture falling. Score by Rucci Sakamoto. Posthumous work is sparse, mournful, immaculate,
82
00:06:41.319 --> 00:06:46.319
critical reception. The Atlantic a film of piercing subtlety, less
83
00:06:46.319 --> 00:06:52.000
a satire than a diagnosis. Vulture Dakota Johnson's best performance,
84
00:06:52.319 --> 00:06:57.240
a quietly devastating meditation on wealth and worth. Indie Wire,
85
00:06:57.759 --> 00:07:01.319
Sharp as Glass, Soft as Dust, a haunting New York
86
00:07:01.360 --> 00:07:04.920
film for our Time, currently holds a ninety six percent
87
00:07:05.000 --> 00:07:10.319
on Rotten Tomatoes our review. The Materialists is a rare gem,
88
00:07:10.639 --> 00:07:15.399
a romantic satire that doesn't smirk, it bleeds. Selene's song
89
00:07:15.480 --> 00:07:19.279
crafts a story where luxury is both balm and blade.
90
00:07:19.879 --> 00:07:24.279
Dakota Johnson is mesmerizing playing a character who doesn't speak
91
00:07:24.360 --> 00:07:28.079
unless she must, who observes the world with esthetic hunger.
92
00:07:28.519 --> 00:07:32.959
Chris Evans subverts his charisma, making Edward a seductive cipher,
93
00:07:33.319 --> 00:07:37.600
and Pedro Pascal breaks hearts without asking for pity. It's
94
00:07:37.600 --> 00:07:41.079
not flashy, it's not fast, but it's unforgettable.