In a cinematic landscape often dominated by cookie-cutter romances, Splitsville (2025) arrives like a jolt of electricity to the heart of the genre. Directed by Michael Angelo Covino, who also co-wrote the script with his longtime creative partner Kyle Marvin, the film serves as a spiritual successor to their 2019 indie darling The Climb. Produced by Neon, Watch This Ready, and TeaTime Pictures, and distributed by Neon, the film made a prestigious splash at the 2025 Cannes Film Festival before its theatrical release on August 22, 2025. While box office figures are still settling, the buzz surrounding its provocative premise has already marked it as a significant cultural talking point.
The film features a stellar quartet: Dakota Johnson as Julie, Adria Arjona as Ashley, Kyle Marvin as Carey, and Michael Angelo Covino as Paul. The story kicks off when Ashley suddenly asks Carey for a divorce during what should have been a pleasant road trip. Distraught, the good-natured Carey retreats to the home of his best friends, Paul and Julie, only to find that their marital stability is built on the foundation of an open marriage. What begins as a search for solace quickly spirals into a series of wildly inventive and messy entanglements that challenge the very definition of loyalty. This film matters because it signals the return of the "remarriage comedy" with a modern, raunchy twist, proving that independent cinema still has the courage to explore the complexities of the human heart without easy answers.
Story and Screenplay: A Labyrinth of Desire and Disaster
The narrative structure of Splitsville is both clever and grounding, divided into five distinct chapters or "Articles" that mirror the legalese of a divorce contract. This formal choice provides a satisfying rhythm to a story that otherwise thrives on unpredictability. Covino and Marvin have crafted a script that feels remarkably fresh: it manages to be "Sorkin-quick" in its dialogue while maintaining a grounded, relatable core. The pacing is particularly effective, launching with a literal and figurative bang in the first act before settling into a more contemplative, though no less hilarious, exploration of the fallout.
One of the script's greatest strengths is its refusal to lecture the audience. It doesn't seek to provide a profound commentary on whether open relationships are "good" or "bad." Instead, it focuses on the messy reality of human desire and the often ludicrous lengths people will go to for a sense of connection. The themes of commitment versus selfishness are explored with a wry sense of humor that feels lived-in. While some might find the narrative a bit shaggy in its second half as it explores the ripple effects of the dual breakups, the writing remains sharp enough to keep the viewer engaged. The screenplay successfully balances absurdist comedy with genuine insights into the convoluted craziness of love, making it feel like a vibrant resuscitation of a subgenre that has felt anemic in recent years.
Acting and Characters: A Masterclass in Comedic Chemistry
The success of Splitsville rests heavily on the shoulders of its central quartet, and they deliver in spades. Dakota Johnson is the film's undeniable linchpin, turning in a performance that is both vulnerable and supremely confident. She portrays Julie as an "always chill" woman whose willingness to make her marriage work leads to fascinatingly complex choices. Following her role in Materialists earlier in the summer, Johnson has truly mastered the art of playing women who navigate the perils of modern romance with a mix of cold calculation and deep-seated longing.
Kyle Marvin is equally impressive as Carey, the shaggy sad-sack of the group. His performance captures a specific kind of bumbling sweetheart energy, a man whose honesty and wishy-washiness often frustrate those around him. Michael Angelo Covino plays Paul with a cocksure, unemotive exterior that masks a bonfire of untapped emotions, creating a perfect foil for Marvin’s everyman persona. Adria Arjona, coming off a strong turn in Hit Man, proves she has world-class comedic chops as Ashley. Her rendition of a ballad by The Fray is an absolute showstopper that highlights her character's vivacity. The chemistry between the two men, rooted in a real-life fifteen-year friendship, feels effortless and deep, making their eventual hostilities all the more impactful. Supporting turns, including a hilarious cameo by Nicholas Braun as a gloomy mentalist, add extra layers of absurdity to the mix.
Direction and Technical Aspects: Style Meets Substance
Michael Angelo Covino’s direction is a revelation, demonstrating a holistic sense of artistry and comedic precision. He avoids the trap of overly stylized camerawork for its own sake, instead using bold camera setups to enhance the narrative. Collaborating with cinematographer Adam Newport-Berra, Covino utilizes long takes and Steadicam shots that track the action with a restless energy, or holds the camera in a fixed position until a joke land with maximum impact. This approach makes Splitsville a rare indie comedy where the visual style feels as important as the substance.
The technical highlight of the film is undoubtedly a ten-minute fight sequence between Carey and Paul in the first act. Choreographed with a level of brutality and scrupulous detail that one might expect from a Bourne movie, the scene uses a luxury Hamptons home as a battleground where everything from fire pokers to fish tanks becomes a weapon. It is a masterpiece of slapstick that evokes the spirits of Jackie Chan and Jacques Tati, perfectly capturing the sloppiness and exhaustion of two friends who have reached their breaking point. The production design of the modern architectural marvel where much of the film takes place provides a sterile contrast to the "extreme domestic disorder" occurring within its walls, serving as a visual metaphor for the characters' attempts to maintain a perfect image while their lives crumble.
Trailer Splitsville (2025)
Music and Atmosphere: The Sound of Relatable Chaos
The atmosphere of Splitsville is characterized by a "fleet and funny" energy that never loses sight of the serious stakes involved in relationship destruction. The score, composed by Dabney Morris and David Wingo, is a standout element. Described as a "bass-throttled jam," the music lands with a heavy, bright presence that perfectly complements the film's hazy, orange-glow aesthetic. The jaunty tones of the soundtrack often play in ironic contrast to the characters' more desperate moments, such as Carey’s "heaving" sprint through the forestry after the initial divorce bombshell.
Sound design is used effectively to heighten the comedy, particularly in the "unbearably pitchy" singing sessions that open the film. These moments of vocal vulnerability instantly establish the comfort level between the characters before the script begins to tear those bonds apart. The audio experience enhances the film's raunchy yet honest mood, creating a world that feels both exuberant and slightly dangerous. Whether it’s the chaotic roar of a highway accident or the quiet, uncomfortable silence of a shared apartment, the soundscape is meticulously crafted to keep the audience firmly within the characters' emotional highs and lows.
Strengths and Weaknesses
What works well:
- The Central Fight Scene: A choreographed masterpiece of slapstick and destruction that is worth the price of admission alone.
- Exceptional Casting: The chemistry between Johnson, Arjona, Marvin, and Covino creates a believable and compelling web of relationships.
- Structural Ingenuity: The division of the film into "Articles" provides a clear and engaging narrative framework.
- Honest Dialogue: The script captures the specific, often dipshit-driven way that modern adults communicate under pressure.
- Visual Ambition: Bold camera movements and long takes elevate the film above the standard visual language of most romantic comedies.
What doesn't work:
- Narrative Shagginess: Some sequences in the second half feel a bit loose as the film explores numerous subplots and "ripple effects."
- Bro's-Eye View: Despite giving the women more agency and screen time than in their previous film, the movie’s perspective still feels heavily rooted in the male leads' experience.
- Tonal Shifts: The transition from a tragic car accident to witty banter about CPR policy might feel jarring for some viewers.
- Pacing Dips: After a bravura opening, the middle section occasionally settles into a more conventional comic formula that lacks the initial intensity.
Final Verdict: A Bold Win for Modern Comedy
Rating: 4/5 stars
Splitsville is a resounding success that proves Michael Angelo Covino and Kyle Marvin are two of the most exciting voices in American indie comedy today. It is a ballsy, provocative film that isn't afraid to get its hands dirty in the muck of failed marriages and questionable life choices. By embracing the "remarriage comedy" tropes of the past and infusing them with a modern, messy sensibility, the filmmakers have created something that feels both classic and entirely new. It is a film that recognizes that you never really know the value of a relationship until you "sink it," much like the rebellious kid in the film sinking jet skis for fun.
Who should watch it? This is the ideal date movie for 2025, especially for those who are tired of sanitized romances and are looking for something that speaks to the "convoluted craziness" of real-world love. If you enjoyed The Climb or are a fan of Dakota Johnson’s recent pivot into interesting, provocative indie roles, this is a must-see. It is a film for people who appreciate smart, verbal humor and don't mind a healthy dose of slapstick and raunchiness along the way.
Who might not enjoy it? If you are looking for a traditional, "safe" rom-com with a predictable happily-ever-after and no moral ambiguity, Splitsville might leave you feeling unsettled. Its dark comedic chaos and exploration of open relationships could be off-putting for those who prefer more conventional relationship dynamics in their entertainment. Additionally, viewers sensitive to sharp tonal shifts from tragedy to comedy might find the opening sequence a bit difficult to digest.
Recommendation: I highly recommend Splitsville for anyone seeking a sharp, funny, and ultimately moving cinematic experience. It is a vibrant resuscitation of the romantic comedy genre that demands to be seen on the big screen with an audience. Don't let the shaggy edges fool you: this is a finely tuned piece of art from filmmakers who are firmly in control of their craft. Go see it, avoid the trailer if you can, and prepare for one of the most unpredictable rides of the year.
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