Splitsville
We often don’t appreciate what we have until we lose it — or worse, until that lost thing keeps haunting us so much that we end up crawling back to it.
Splitsville, directed by Michael Angelo Covino (who also stars in one of the lead roles), is a comedy about just that: the absurdity and emotional chaos of modern relationships, where breakups rarely feel final and emotional closure is often a moving target.
The film follows two married couples who are in very different places in life but are wrestling with surprisingly similar problems. One couple — Carey, played by Kyle Marvin, and Ashley, played by Adria Arjona — are cracking under the weight of traditional expectations. Ashley feels boxed in by marriage and longs for new experiences, including sexual freedom. Meanwhile, the other couple — Paul and Julie, played by Covino and Dakota Johnson — present themselves as the “evolved” pair, advocates of open relationships, partners who let each other sleep with whoever they want, as long as it’s honest — even though they have a child.
But what Splitsville shows, in its deceptively breezy, laugh-out-loud way, is that no matter what kind of label you slap on your love life — monogamous, open, progressive, or experimental — maintaining love is hard work. And often, we’re just fooling ourselves along the way.
Let me say it out loud: this film is funny. I’m not easily moved to visible emotion in the cinema — especially while sitting at a Cannes Film Festival premiere with the entire cast in attendance. But Splitsville manages to sidestep all that pomp and turn the room into a casual, collective chuckle-fest — like a chill movie night with friends, popcorn in hand. That’s a rare feat at a major festival, but it was so needed after a full day of heavy-hitters and mental experiences.
The cast, overall, handles the tone incredibly well. The comedic rhythm at times reminded me of Anora by Sean Baker (who was actually also in the theater at the premiere). The film flirts with the structure of modern rom-coms, taking playful digs at performative happiness and adult infantilism — especially among people who are supposed to have it all together: spouses, parents, grown-ups.
What the film nails is a timeless truth: even with a ring on your finger and kids in the next room, people still do stupid things when it comes to love. And fulfilling your every desire doesn’t necessarily make you happy — sometimes, it just makes things more confusing. Nothing new or groundbreaking, but still true.
While at some points the film edges into parody territory, Splitsville never loses its comedic footing. It’s packed with hilariously awkward fights, funny arguments, and sharp dialogue that aims to make you laugh first — and think a bit later. And it works. You never cringe. You never roll your eyes. I don’t know about you, but for me, that’s already a win for the genre. You just sit back and enjoy a film that doesn’t take itself too seriously.
When it hits theaters in late summer or early fall, don’t miss it. That’s exactly the kind of season when a film like Splitsville feels just right.
7/10
