Sometimes, to find what you’re looking for, you need to destroy everything you know.
Directed by Michael Angelo Covino, Splitsville begins as Ashley (Adria Arjona) asks for a divorce from her good-natured husband, Carey (Kyle Marvin). Stunned by her request, Charlie flees to the home of their best friends, Julie and Paul (Dakota Johnson and Covino) in order to find some moral support. However, upon his arrival, Carey’s world is upended again as the two defend the joys of their own open marriage. For Julie and Paul, monogamy is unnatural and thus, they are willing to own their infidelities… that is, until Carey crosses the line, throwing everyone’s relationships into disarray.
Co-written by Covino and Marvin, the film shows incredible trust between the two performers. For only their second feature together, there’s a high degree of chemistry between the duo as they laugh, argue and (literally) fight their way through their relationships. (And it goes without saying that the inevitable fight between the two men is an unexpected gem.)
And, of course, the duo has the benefit of genuine acting pedigree in Johnson and Arjona. Here, both actresses look extremely comfortable with their proverbial (and constantly shifting) dance partners. Following her spectacular performance in 2023’s Hitman, Arjona embraces her sexuality here once again as Ashley. Moving from lover to lover, Ashley is cool and collected. Even if her prospective paramours struggle to let go, we know that Ashley owns her independence (until… she doesn’t). Even in its strangest moments, this is a delightfully playful performance by Arjona.
Further, one can’t deny that Johnson’s performance feels more natural than we’ve seen from her in some time. As Julie, Johnson feels both loving and powerful. There’s a confidence in her that arises, even when the men in her life attempt to take control. In each relationship, Julie feels at ease but never trapped by commitment. And Johnson allows herself to lean into the film’s more comedic tone with almost surprising joy. (It’s also interesting to note that, following on the heels of her wonderful film Materialists, this marks the second straight film that Johnson has starred in that looks to deconstruct modern relationships.)
At its heart, Splitsville really allows itself the freedom to deconstruct the nature of modern relationships, without ever losing its love of tradition. Every one of these relationships attempts to open the door to new ways of celebrating love. Open relationships, honest conversations about infidelity and even, in some ways, throuples (or more) are all highlighted as progressive answers for the oppressiveness of the traditional model. (Almost) everyone here seems to be looking for some new answer for commitment that can take relationships to the next level.
But everything they try comes up empty.
Without giving spoilers, it is fascinating to see how Covino and Marvin manage to upend the modern romcom while still celebrating its tropes. Sexual partners are constantly moving around the board yet the rules of the game haven’t really changed. While it would be a disservice to the film to suggest that it has any grand messaging about the state of modern relationships, the fact that the film’s celebration of monogamy remains intact makes for a fascinating script choice.
It’s also worth noting that Splitsville is rated R for a reason. With frontal nudity and strong sexuality, more sensitive viewers should be prepared for some open conversations about intimacy. (It’s also important to realize that most of the nudity is played for laughs.)
Even so, that’s sort of the charm of Splitsville as well. Underneath its comedic tone, this is ultimately a film about discovering the connection between sex and intimacy. With honesty and forthright sillness, Splitsville rips apart the concept of monogamy and then lovingly asks if it needs to be put back together again.
Splitsville is available in theatres on Friday, August 29th, 2025.
