‘Splitsville’ Review: Dakota Johnson and Adria Arjona in a Winning Indie Comedy That Puts Two Divorcing Couples Through the Wringer

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The genre we commonly refer to as screwball comedies, particularly those from the 1930s and 40s that are highly regarded, were labeled “remarriage comedies” by philosopher Stanley Cavell. He was referring to a common plot structure where couples who were married at the beginning of the film experienced separation, but ultimately reconciled by the end. The action-packed events in between were the ‘hijinks’.

Following the success of our hilarious buddy flick, “The Climb” in 2019, Kyle Marvin and I, Michael Angelo Covino, are back at Cannes with “Splitsville”. This time around, we’re diving into the complexities of remarriage comedy, a new territory for us, but rest assured, we’ve managed to maintain our unique flavor and quirks throughout.

As a movie enthusiast, I’m excited about the upcoming film starring Dakota Johnson and Adria Arjona, two brilliant actresses who bring intelligence and dynamism to their roles. Interestingly enough, they’re paired opposite a couple of real comedic goofs in this Neon-distributed production. Hopefully, it will attract a broader audience than their first film. Compared to “The Climb,” Splitsville might not be as unique, but it’s equally well-crafted, making it one of the rare indie comedies where style and substance are given equal importance.

The thrilling opening scene, where Carey (Marvin) and Ashley (Adria Arojna) enjoy a leisurely drive to a beach house, quickly spirals into chaos. This is evident that the filmmakers are determined to create something unique. Directed by Covino, along with a script co-written with Marvin, the movie initially holds your attention with numerous scenes of chaos and distress, before transitioning into a more conventional comedic structure – though still filled with unexpected surprises.

In a pivotal moment on their drive, Ashley reveals to Carey that she’s been untrue and wishes to end their relationship. He abandons her by the roadside and makes his way to Paul’s seaside mansion, who is married to Julie and has maintained their bond through an open relationship and being more adaptable about physical intimacy. When Paul departs for Manhattan the following day, Carey eventually finds himself in Julie’s embrace, leading to more than just that.

The remainder of “Splitsville” portrays the experiences of four individuals as they depart from their committed relationships, abandoning monogamy and embarking on uncharted paths. The predicaments they encounter – such as Ashley accommodating a series of temporary lovers in her apartment that she continues to share with Carey, or Paul’s downfall in his business and marriage after discovering Julie’s infidelity – provide ample opportunities for humor.

As a fan, I’d put it this way:

One of the standout moments is an unbelievably intense early fight sequence between the two characters, choreographed by Covino in a manner that blends the acrobatic flair of Jackie Chan with the subtle humor of Jacques Tati. This battle takes place within the opulent surroundings of Paul’s home, transforming everyday items into potential weapons amidst the chaos.

Another memorable scene has Carey wandering through his apartment as an endless parade of men enter Ashley’s life—or more precisely, her bedroom—only to linger for far too long.

In this movie, the filmmakers delve into the boundaries of open relationships and the lengths couples are willing to go to sustain them, using scenes of intense domestic chaos as a backdrop. As Carey gets closer to Julie, their partners are temporarily sidelined, but their attempts to resolve the situation only lead to more complications. The movie Splitsville shows that no matter how confident people might be about maintaining a successful relationship, whether it’s by staying monogamous or having multiple partners, they eventually succumb to their own issues.

In contrast to “The Climb,” this movie devotes a greater portion to the characters played by Johnson and Arjona. This provides ample opportunity for them to display their comedic talents, particularly in scenes that highlight how these women have more control over their lives compared to the men around them. It’s important to note that Ashley and Julie also experience pain, but they don’t behave childishly when faced with it. Instead, Carey and Paul resort to extreme coping mechanisms, either displaying raw aggression or passive-aggressively accepting their situations.

Titled after clauses from a divorce agreement, the novel “Splitsville” kicks off with an abundance of absurd humor, which gradually gives way to a more introspective examination of the repercussions of two simultaneous breakups in its latter half. The narrative style adopted by Covino is characterized by daring camera techniques (thanks to Adam Newport-Berra from “The Studio“) that either follow or move alongside the action during extended takes, or else stay put until a punchline is revealed. Comedy can range from physical farce, reminiscent of Blake Edwards’ “The Party” in some instances, to subtler verbal humor with plenty of deadpan delivery.

Following the classic structure of romantic comedies, the film Splitsville leads its four characters almost full circle, ending with an unpredictable birthday party for Paul and Julie’s son that goes awry as expected. The talented Nicholas Braun (from Succession) adds to the humor in this scene by portraying a melancholic mentalist, further injecting absurdity into the storyline. However, the film manages to stay grounded and avoid becoming overly outrageous or farcical, showcasing Covino and Marvin’s skill as directors in masterfully orchestrating chaos while maintaining a firm grip on their creative vision.

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2025-05-20 03:54