‘Splitsville' trailer OUT: Dakota Johnson stars in chaotic comedy of love, lust and betrayal
First glimpse of Cannes-premiered comedy reveals a tangled web of open marriages and divorce-fuelled drama
The trailer for Splitsville, the upcoming American comedy directed by Michael Angelo Covino and starring Dakota Johnson, has officially dropped—offering a glimpse into a messy, hilarious, and emotionally charged tale of modern love gone sideways.
Premiering in the Cannes Premiere section at the 2025 Cannes Film Festival on May 19, the film is now set for a theatrical release via Neon on August 22, 2025.
Set in a world where relationship rules are rewritten—and promptly broken—Splitsville follows two couples whose lives collide in unexpected ways after a confession of infidelity turns one divorce into a four-way fallout.
The trailer opens with Ashley (Adria Arjona) coolly informing her husband Carey (Kyle Marvin) that she's cheated and wants a divorce. Stunned, Carey wordlessly steps out of the car and bolts across a field—arriving at the home of Paul (played by director Covino) and Julie (Dakota Johnson), a couple in an open relationship.
When Julie and Carey inevitably sleep together, things seem in keeping with Paul and Julie's non-monogamous arrangement—until Carey admits the affair to Paul. What follows, as teased in the trailer, is an explosive chain reaction filled with tension, betrayal, and comic mayhem.
Produced by Johnson herself, the film also stars Nicholas Braun, David Castañeda, O-T Fagbenle, Charlie Gillespie and Simon Webster.
With its razor-sharp writing by Covino and Marvin, and an ensemble cast that brings emotional nuance to absurdity, Splitsville aims to explore the blurred lines of love, honesty, and human insecurity.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
an hour ago
- Indian Express
Character AI names former Meta executive Karandeep Anand as CEO
Character AI, the fast-growing AI chatbot platform popular among Gen Z audiences, has appointed Karandeep Anand as its new CEO. Anand, formerly Meta's Vice President of Business Products and a board adviser to Character AI, will lead the company through a crucial phase marked by rapid expansion and legal scrutiny. His appointment comes just under a year after co-founder and CEO Noam Shazeer left the company to join Google, which is one of Character AI's investors. The move raised regulatory flags, prompting scrutiny from US federal agencies over the companies' ties to Google and the nature of their agreement. Character AI has seen explosive growth, attracting tens of millions of monthly active users, with 66 per cent of them aged 18-24, and 72 per cent identifying as women, according to data from digital analytics firm Sensor Tower. But the platform has also drawn criticism over moderation tools and is currently facing a lawsuit after one of its AI roleplay chatbots was allegedly involved in the death of a 14-year old American boy. In response, the company has introduced new safety filters but those, too, have drawn backlash for over-moderation. In a public letter addressed to Character AI's global user base, Anand reaffirmed the company's dedication to user safety. 'We're going to move fast to give you a bunch of the things you've been asking for […] We're going to make the filter less overbearing. (We care deeply about user safety and always will. But too often, the app filters things that are perfectly harmless. We're going to fix that.),' he said. Anand also committed to rolling out major product improvements 'in the next 60 days', including enhanced memory, better model quality, clearer moderation policies, and improved discoverability for community-created characters. Character AI is also building toward immersive, multimedia experiences, enabling characters to 'jump off the page' through audio-video interaction. 'I'm committing to launch all of that this summer and the team is hard at work to make all this real soon. I've spent many years building products, and I'm going to make sure we move fast and give you features that delight you and make [Character AI] more immersive and more fun,' Anand added. While entertainment-based chatbots were once a casual use case of generative AI, Character AI's surge in popularity – and the emotional connections users feel toward its AI chatbot characters –could turn it into a rapidly emerging cultural trend. Anand acknowledged this, stating that the company's long-term vision is to 'shape the future of entertainment'. (This article has been curated by Arfan Jeelany, who is an intern with The Indian Express)
Hindustan Times
an hour ago
- Hindustan Times
‘Bombs flying around': Musician resumes journey to Doha after spending 7 hours on Istanbul tarmac
Qatar briefly closed its airspace on Monday after the Iranian attack on the US Al Udeid airbase in Qatar. Flight traffic in and out of the country was affected due to the closure, with dozens of aircrafts diverted. One such traveller affected by the closure of airspace was musician David Scott (better known by his stage name 'The Kiffness'), who spent seven hours on the tarmac in Istanbul after his flight to Doha was diverted. David Scott, aka The Kiffness, spent 7 hours in Istanbul after his flight to Doha was diverted In a post shared on the social media platform X this morning, Scott said he had finally resumed his journey to Doha, Qatar after an unscheduled stop at Istanbul, Turkey. The South African musician – best known for his song 'I Go Meow' – said that he bought Qatar Airways Wi-Fi specially to share this update. 'Bought the Qatar Airways WiFi just to say we had to land in Istanbul and chill on the tarmac for 7hrs because bombs were flying around. Weird times, but could be worse,' he wrote. 'Back in the air now & on the way to Doha. Will let you know if any other weird things happens.' Qatar Airways resumed its flight services after the brief closure, but warned travellers of delays. 'Qatar Airways confirms reinstatement of flights as airspace reopens in the State of Qatar,' the airline said in a statement five hours ago. 'Our focus at this time is to help our passengers return home or reach their onward journey safely and smoothly. We've deployed extra ground staff at Hamad International Airport to support you as we resume operations.' What happened in Qatar? Iran launched missiles at a major US base in Qatar on Monday in retaliation for American strikes on key nuclear facilities, with explosions ringing out in Doha and projectiles seen streaking overhead. Qatar, which lies 190 kilometres (120 miles) south of Iran and is home to the largest US military facility in the Middle East, said its "air defences successfully intercepted a missile attack targeting Al Udeid Air Base". US President Donald Trump claimed a ceasefire has been achieved between Iran and Israel on Monday. (With inputs from agencies)
News18
5 hours ago
- News18
We Were Liars Review: A Tragic, Twisty Teen Mystery With A Haunting Final Episode
Last Updated: We Were Liars Review: Prime Video's new series is a tragic, twist-laden teen thriller that explores trauma, privilege and memory, ending with a finale that leaves a lasting impact. We Were Liars Review: We Were Liars, the new psychological YA thriller streaming on Prime Video, is a brooding, sun-soaked mystery set against the backdrop of wealth, trauma and generational secrets. Based on E. Lockhart's best-selling 2014 novel, which found renewed popularity through BookTok, the series explores the fragility of memory and the dark truths hidden beneath a gilded family legacy. With Julie Plec and Carina Adly MacKenzie at the helm, this eight-part adaptation strikes a balance between teen angst and slow-burning tragedy, even if it stumbles occasionally along the way. The story centers on Cadence Sinclair Eastman (Emily Alyn Lind), a teenager from an elite American family known as the Sinclairs. Every summer, they retreat to their private island, Beechwood, near Martha's Vineyard – a place of tradition, wealth, and carefully constructed appearances. But something traumatic happened during Cadence's Summer 16 which she can't remember. A year later, she returns to the island, determined to piece together the events that led to her brain injury and her unraveling reality. As Cadence reconnects with her cousins Johnny (Joseph Zada), Mirren (Esther McGregor), and family friend Gat (Shubham Maheshwari) – the self-named 'Liars" – the series toggles between two timelines: the golden, romanticised Summer 16 and the somber, uncertain Summer 17. The intercutting is visually distinct but not always seamless; though the intention is to mirror Cadence's fractured mind, the frequent timeline jumps can feel jarring rather than immersive. Still, what We Were Liars does best is build atmosphere. From moody monologues to dreamy Fourth of July parties, the series captures the eerie allure of adolescent summers tinged with privilege and unease. Director Nzingha Stewart's vision leans into the poetic tone of the novel, supported by voiceovers that range from introspective to slightly overdone. Emily Alyn Lind brings vulnerability and resilience to Cadence, anchoring the series even when the writing gets murky. However, the romantic chemistry between Cadence and Gat feels undercooked. While their storyline hints at deeper discussions of class and race, with Gat being the outsider challenging Sinclair elitism, those ideas are barely skimmed and the show misses an opportunity for sharper commentary. On the other hand, the adult cast is a revelation. Mamie Gummer, Caitlin FitzGerald, and Candice King, playing the feuding Sinclair sisters, bring electric tension to every scene. Their fraught dynamics, layered with unspoken resentments and decades of rivalry, offer some of the show's most engaging moments. Rahul Kohli as Ed, Gat's uncle and the voice of moral clarity, adds depth to an otherwise insular world. Visually, the show excels from sunlit beaches to ivy-covered mansions and haunting dream sequences create a setting that feels both idyllic and suffocating. The voiceovers, though sometimes too lyrical, help paint the emotional dissonance of a girl who once thought her life was perfect. Yet We Were Liars is not without missteps. Some episodes meander, particularly in the middle, and the slow pacing risks losing viewers who aren't already familiar with the book's twist. The show's flirtation with horror through disorienting edits and eerie visuals, meant to symbolise Cadence's mental state, doesn't always land and feels out of sync with the emotional tone. But what ultimately saves the series is its final act. As Cadence's memories return, the pieces fall into place with a gut-punch that, while softened slightly by uneven buildup, still delivers emotionally. The last two episodes are haunting and heartbreaking, reminding us why Lockhart's original twist left readers stunned. We Were Liars is not a flawless adaptation, but it's a deeply affecting one. Its exploration of generational trauma, loss of innocence, and the facade of perfection resonates even when its structure falters. It may leave some viewers yearning for tighter storytelling or a clearer narrative focus, but its emotional payoff, especially for those going in unspoiled, is worth the ride. Whether you're a fan of the book or stepping into Beechwood for the first time, We Were Liars offers a melancholic mystery that lingers after the credits roll. And if a second season is on the cards, it's the Sinclair sisters not just the Liars, we hope to see more of. First Published:
