In the captivating opening scene of Michael Angelo Covino’s relationship dramedy, Splitsville, we are introduced to married couple Ashley (Adria Arjona) and Carey (Kyle Marvin) as they embark on a journey to visit their friends Julie (Dakota Johnson) and Paul (Covino). In a spontaneous attempt to reignite the spark in their marriage, Ashley initiates a flirtatious moment with her husband while he is behind the wheel. It becomes evident that Ashley is yearning for a sexual awakening within their relationship, believing that a car ride presents a perfect opportunity for intimacy. However, when their reckless impulses culminate in a tragic accident, Ashley declares that it’s time for a divorce, forcing them to confront the harsh reality of their situation immediately.

After a series of comical misadventures on his way to Paul and Julie’s, Carey finally arrives to share the devastating news with his friends. In a state of desperation by the end of the night, Carey pleads for their guidance. To his surprise, Paul and Julie reveal that they have sidestepped potential relationship pitfalls by embracing the concept of an open marriage. This arrangement allows them to engage in sexual encounters with others without feelings of guilt or the need for confession unless expressly asked. Although this idea is foreign to Carey, it ignites a curiosity within him, compelling him to explore this newfound perspective. The outcome is a thrilling series of events that form the basis of the film’s entertaining conflict.

The Script of Splitsville Explores the Absurd Nature of Open Relationships

Splitsville Delivers Ample Laugh-Out-Loud Moments Through Its Silly Narrative

If the detailed synopsis of Splitsville strikes you as absurd, you are not mistaken. Covino and Marvin, who previously collaborated on the indie success The Climb, reunite to craft a comedy that explodes with humor and insight. Central to this narrative is an examination of the complexities surrounding open relationships and the often hypocritical standards applied to men and women. By delving into how each character navigates their sexual relationships, the creative team behind this uproarious feature presents interconnected character studies that evoke nostalgia for American comedies, reminding audiences of their entertaining and insightful nature.

As the dynamics among this quartet intensify and become increasingly complex, the script evolves to offer a deeper understanding of each character as an individual. In recent cinematic history, ensemble films have often faltered due to scripts failing to provide sufficient depth for their stars. Although Ashley, portrayed by Arjona, experiences the most underdeveloped storyline, which sees her embark on her sexual awakening off-screen, she ultimately returns with both literal and figurative impact (pun intended). Her comedic timing is particularly noteworthy, showcasing her impressive talent within the film’s context.

In her role, Johnson navigates a multifaceted character that requires her to juggle motherhood, marital dissatisfaction, and numerous other nuanced elements that I won’t spoil here. Furthermore, her interactions with the ensemble cast lead to some of the film’s most memorable sequences. As anticipated, Johnson delivers a stellar performance, characterized by her impeccable comedic timing. By skillfully modulating her energy to suit various scenes, Johnson shines in a manner that reaffirms her status as a dependable and talented actress in the industry.

Splitsville Thrives on Its Exceptional Cast to Generate Electrifying Energy

One of the standout strengths of Splitsville is that Covino’s directorial approach avoids excessive stylization, even though the script possesses the potential for such embellishments. Rather than relying on exaggerated camera techniques, he draws upon the dynamics between the characters and the physicality of specific scenes to create the film’s vibrant energy. Without a doubt, the significant fight scene in the first act will resonate with audiences as a fan-favorite moment, and justifiably so. Covino and Marvin expertly lay the groundwork on paper, then deliver electrifying performances that encapsulate masculinity, absurdity, creativity, and pure entertainment. While this is not an action film per se, this particular sequence may leave you questioning that classification.

Splitsville does not aim to provide a profound analysis of the intricacies of open relationships, nor does it need to. Fortunately, Covino and Marvin respect the audience’s intelligence by refraining from overly explanatory dialogue and didactic monologues. Instead, this talented writing duo concentrates on what viewers truly crave: an exploration of human desire and the wild lengths we will go to forge connections. The journey toward understanding our desires in relationships can be tumultuous, yet Covino and Marvin remind us that our choices—regardless of how absurd or misguided—are what ultimately define our humanity.

Splitsville made its debut at the prestigious 2025 Cannes Film Festival.