In Splitsville, Cary (Kyle Marvin) believes he leads the idyllic life, married to a beautiful woman he loves named Ashley (Adria Arjona) who he will spending the rest of his life with, his world view is shattered though when Ashley abruptly asks for a divorce. Cary turns to his friends, married couple Julie (Dakota Johnson) and Paul (Michael Angelo Covino), only to learn that the secret to their happiness is an open marriage. After an emotional night confiding in her, Julie and Cary sleep together, complicating the three’s relationship. While dealing with the fallout, Cary gets the idea to propose a similar setup in a desperate bid to hold onto Ashley. The new arrangement then tests all four completely.
In some ways, Splitsville feels more like satirical commentary on modern relationship issues, mainly the rising popularity of polyamory. A comedic lens is applied to the practice, observing the love square between Julie, Cary, Paul, and Ashley and how they navigate its complications. What the film seems to be examining most closely is the very human emotion of jealousy and how it conflicts with the modern insistence on playing it cool and appearing to be unbothered despite one’s true feelings. Each character at various points tries to act as if they’re unbothered by the fraying or complete fracturing of one of their relationships, as well as their partner’s new one, while burying how they truly feel in an effort to hide their pain or play into our culture’s current viewpoints on what a healthy, modern relationship looks like.
What results is a treatise on human nature and where culture can conflict with the instinctual wrapped inside of a rom com. It’s an updated take on a classic genre that has all but disappeared from multiplexes that fits the current day, but is also sure to challenge some viewers since it isn’t as clean and digestible as the typical romantic comedy historically has been. Each character makes mistakes and decisions that can make them hard to root for at times which may challenge some people’s empathy, but also more for a more humanistic portrayal of who and what people are, especially now. But it’s done in a largely entertaining way with the absurdity resulting in some humorous moments that have some topical thematic undertones.
Despite its topicality and the zany humor its premise inspires, there’s not much about Splitsville that raises past being a possible curiosity into something must see. While the film does feature moments of very good cinematography that’s better than it has a right to be, and decent performances, it lacks any elements that truly make it stand out.
Image: NEON
