What many of us know as **screwball comedies** \u2014 particularly the great ones of the 1930s and 40s \u2014 philosopher Stanley Cavell famously dubbed \u201c**remarriage comedies**.\u201d This popular template features wedded couples who drift apart at the start of the movie, only to come back together at the end, with plenty of hijinks in between.<\/p>\n
For their second feature after the impressively helmed 2019 bromance, The Climb<\/em>, **Michael Angelo Covino** and **Kyle Marvin** return to Cannes with Splitsville<\/em>, a bona fide **remarriage comedy** that showcases their growth into broader material while maintaining their unique tastes and idiosyncrasies.<\/p>\n \n Venue:<\/strong> Cannes Film Festival (Cannes Premiere) \n The Bottom Line<\/span> Co-starring **Dakota Johnson** and **Adria Arjona**, who portray dynamic women opposite two lovable goofballs, this Neon-distributed effort hopes to reach a broader audience than the duo’s first film. While Splitsville<\/em> may be less unique than The Climb<\/em>, it remains equally accomplished, offering an indie comedy where **style** is as significant as **substance**.<\/p>\n From the **bravura opening sequence**, in which a pleasant drive to a beach house spirals out of control, you can sense the ambitions of the filmmakers. Directed by Covino and co-written with Marvin, the movie captivates early on with scenes of physical and mental chaos before settling into a classic comic formula infused with surprising twists.<\/p>\n During their fateful trip, Ashley informs Carey (Marvin) of her infidelity and her desire to end the relationship. Carey leaves her by the roadside and heads over to the seaside mansion of his best friend **Paul** (Covino), who has been happily married for years to Julie (Dakota Johnson). Paul and Julie assert they have preserved their relationship by embracing an **open marriage**, but complications arise when Carey and Julie’s relationship begins to escalate.<\/p>\n The rest of Splitsville<\/em> depicts how both couples navigate their newfound freedom, pushing boundaries of monogamy and venturing into uncharted territories. The situation evolves into comedic brilliance as Ashley accommodates various part-time lovers and Paul faces chaos as he uncovers Julie\u2019s betrayal.<\/p>\n One of the standout moments includes a wild fight scene staged by Covino, reminiscent of **Jackie Chan** and **Jacques Tati**, utilizing the luxurious decor of Paul\u2019s home as a comedic battleground. Another highlight features Carey witnessing a parade of men entering Ashley’s life, leading to hilariously awkward encounters.<\/p>\n These extreme instances of domestic disorder are cleverly employed to explore the **boundaries** of open relationships and how far couples are willing to go for love. As Carey grows closer to Julie, the exploration leads to absurd situations where their partners are temporarily abandoned in search of resolutions that only complicate matters more.<\/p>\n Shifting focus from the men, Splitsville<\/em> offers a deeper exploration of the female perspective, allowing Johnson and Arjona to shine in showcasing their comic talents. The narrative emphasizes how much control their characters exert over their lives relative to the men, highlighting their resilience in the face of emotional turmoil while Carey and Paul resort to absurd coping mechanisms.<\/p>\n Divided into chapters named after stipulations in a divorce contract, Splitsville<\/em> begins with absurdist comedy before transitioning into an exploration of the emotional aftermath of the breakups. Covino\u2019s stylistic choices, aided by cinematographer **Adam Newport-Berra**, feature bold camera movements that elegantly align with the film’s comedic elements, while juxtaposing physical humor with deadpan delivery.<\/p>\n In true **remarriage comedy** fashion, Splitsville<\/em> wraps up by bringing the couples back to their initial dynamics, culminating in a chaotic birthday party for Paul and Julie\u2019s son. The appearance of **Nicholas Braun** as a gloomy mentalist adds layers of absurdity to the climax. Amidst the chaos, Covino and Marvin effectively maintain control, crafting a narrative that delves into both the comedic and emotional aspects of relationships.<\/p>\nThe Film at a Glance<\/h2>\n
Splitsville<\/h3>\n
\n Cast:<\/strong> Dakota Johnson, Adria Arjona, Kyle Marvin, Michael Angelo Covino, Nicholas Braun
\n Director:<\/strong> Michael Angelo Covino
\n Screenwriters:<\/strong> Michael Angelo Covino, Kyle Marvin
\n 1 hour 40 minutes<\/span>\n <\/p>\n
\n Artfully controlled domestic chaos.<\/span>\n <\/p>\n<\/div>\nThe Cast and Characters<\/h2>\n
An Engaging Start<\/h2>\n
Exploring Relationships<\/h2>\n
Humor and Chaos<\/h2>\n
The Women’s Perspective<\/h2>\n
Visual Style and Structure<\/h2>\n
A Fitting Conclusion<\/h2>\n