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Geek Vibes Nation
25-05-2025
- Entertainment
- Geek Vibes Nation
‘Splitsville' Review: A Tender, Hilarious And Balanced Portrayal Of Love, Friendship And Open Relationships [Cannes 2025]
Going through a divorce is never pleasant, apart from in the latest movie by Michael Angelo Covino. After taking The Climb to La Croisette in 2019, Covino is returning to Cannes. We're still unsure why Splitsville is a 'Out of Competition' feature, as it's a work that deserves all the accolades it can get. The film is the perfect example of a work that becomes better with each scene. What starts as an explosive unravelling of marriage becomes a tender, hilarious and balanced work about love, friendship and… open relationships. Yes, 'open relationships'. You read that correctly. This edition of Cannes certainly is quite a daring one. After seeing Pillion, which features a BDSM agreement between Alexander Skarsgård and Harry Melling, Splitsville turns the sexiness and steaminess up a notch. There might be less nudity and sex, but there are much more parties involved. The lead cast is quite significant because of the multiple open relationships. You have the four main leads, whose dynamics will change, but also the fuckbuddies on the side, who might become more than that. In an ensemble work like this, some characters are often overlooked and/or underdeveloped because each character needs at least some screen time. However, that's not the case here. No, Covino and co-writer and co-lead Kyle Marvin take their time to cut out well-rounded characters with the necessary individuality and personality. This allows you to fully understand their true (sexual) desires and their journey. And what a journey it is, especially for Carey (Marvin), the traditional husband who wants the whole shebang (wife, marriage and kids) with Ashley (Adria Arjona). However, after Ashley abruptly dumps him on the spot – which is in the middle of the highway – Carey angrily, sadly, and most of all confused, runs to the place of his best friends Julie (Dakota Johnson) and Paul (Covino). That run from the highway to the house is already a major indicator that this work will be full of hilarious encounters and wildly entertaining moments. While there are undoubtedly be some scenes in which the cast and crew take it too far, this movie has an excellent balance between hilarity and big emotions. Paul arrives at his friends' place in the hope of finding advice, comfort, and a temporary bed, but what he gets there is much more life-changing than he could have ever imagined. After finding out that their stable marriage is based on an open relationship, a whole new world opens for Paul. A world in which there's not such a thing as embarrassment or judgment. Covino allows his characters to make mistakes, pursue unconventional relationships, and find out who they really are, even later in life. That lack of judgment and the bigger focus on what it's like to be human makes this feature so intriguing, touching and enthralling. It also certainly sets the film aside from other similar works, and even more, because this movie truly feels like a film. It's entirely shot on gorgeous and textured-looking 35mm, while it's also not too stylized, visual, and directional. Instead of relying on over-the-top cinematography, the filmmaker uses more natural-looking visuals, real-life-sounding conversation and the dynamic energy generated by the cast. This more subdued but dynamic approach ensures that the audience can truly feel what's happening on the screen while allowing the cast to immerse themselves in the role. Johnson (The High Note, Am I Ok?) certainly delivers the most multilayered performance in this work. This is because her character has to endure her unconventional marriage and, deep down, some sadness while trying to be there for her son and friend in need. It might take a while to show her fantastic acting skills truly, but once she does that, she delivers scene-stealing and remarkable acting. Equally scene-stealing but less present is Arjona as Ashley. Right off the bat of Hitman, Arjona now shows an even more hilarious performance. Her comedic timing is extremely impressive, while the sexual awakening of her character guarantees some of the most intense scenes. After Ashley discovers what an open relationship can mean to her, her plan to make her ex jealous completely backfires. Instead of Carey violently going after them, he becomes friends with them, helping them with finding work and organizing game nights. Speaking of Carey, Marvin is excellent as this loveable, laid-back, and feisty lover. What starts as a more timid performance becomes more raunchy and entertaining. That first big fight scene between Carey and Paul certainly got a massive cheer from the Cannes audience, and it's easy to see why. Marvin's electric performance becomes even more enthralling because of Covino's more physical and aggressive acting. Both men have worked together in the past (on The Climb), resulting in very naturally looking, impeccable chemistry and believable performances. Splitsville certainly is one of the best discoveries of the Cannes Film Festival this year. It's a great reminder that there are still American comedies out there that, while it doesn't take itself truly seriously, work after all. Not only because of the incredible dynamic between the cast and the absurd but entertaining script but also because of the humanness and down-to-earth aspect. The screwball comedy with a lot of heart will have you laughing out loud through its 90-minute runtime. Splitsville was screened during the Cannes Film Festival and is out in US theatres on the 22nd of August courtesy of NEON
Geek Vibes Nation
25-05-2025
- Entertainment
- Geek Vibes Nation
'Splitsville' Review: A Tender, Hilarious And Balanced Portrayal Of Love, Friendship And Open Relationships
Going through a divorce is never pleasant, apart from in the latest movie by Michael Angelo Covino. After taking The Climb to La Croisette in 2019, Covino is returning to Cannes. We're still unsure why Splitsville is a 'Out of Competition' feature, as it's a work that deserves all the accolades it can get. The film is the perfect example of a work that becomes better with each scene. What starts as an explosive unravelling of marriage becomes a tender, hilarious and balanced work about love, friendship and… open relationships. Yes, 'open relationships'. You read that correctly. This edition of Cannes certainly is quite a daring one. After seeing Pillion , which features a BDSM agreement between Alexander Skarsgård and Harry Melling, Splitsville turns the sexiness and steaminess up a notch. There might be less nudity and sex, but there are much more parties involved. The lead cast is quite significant because of the multiple open relationships. You have the four main leads, whose dynamics will change, but also the fuckbuddies on the side, who might become more than that. In an ensemble work like this, some characters are often overlooked and/or underdeveloped because each character needs at least some screen time. However, that's not the case here. No, Covino and co-writer and co-lead Kyle Marvin take their time to cut out well-rounded characters with the necessary individuality and personality. This allows you to fully understand their true (sexual) desires and their journey. And what a journey it is, especially for Carey (Marvin), the traditional husband who wants the whole shebang (wife, marriage and kids) with Ashley (Adria Arjona). However, after Ashley abruptly dumps him on the spot – which is in the middle of the highway – Carey angrily, sadly, and most of all confused, runs to the place of his best friends Julie (Dakota Johnson) and Paul (Covino). That run from the highway to the house is already a major indicator that this work will be full of hilarious encounters and wildly entertaining moments. While there are undoubtedly be some scenes in which the cast and crew take it too far, this movie has an excellent balance between hilarity and big emotions. Paul arrives at his friends' place in the hope of finding advice, comfort, and a temporary bed, but what he gets there is much more life-changing than he could have ever imagined. After finding out that their stable marriage is based on an open relationship, a whole new world opens for Paul. A world in which there's not such a thing as embarrassment or judgment. Covino allows his characters to make mistakes, pursue unconventional relationships, and find out who they really are, even later in life. That lack of judgment and the bigger focus on what it's like to be human makes this feature so intriguing, touching and enthralling. It also certainly sets the film aside from other similar works, and even more, because this movie truly feels like a film. It's entirely shot on gorgeous and textured-looking 35mm, while it's also not too stylized, visual, and directional. Instead of relying on over-the-top cinematography, the filmmaker uses more natural-looking visuals, real-life-sounding conversation and the dynamic energy generated by the cast. This more subdued but dynamic approach ensures that the audience can truly feel what's happening on the screen while allowing the cast to immerse themselves in the role. Johnson ( The High Note , Am I Ok? ) certainly delivers the most multilayered performance in this work. This is because her character has to endure her unconventional marriage and, deep down, some sadness while trying to be there for her son and friend in need. It might take a while to show her fantastic acting skills truly, but once she does that, she delivers scene-stealing and remarkable acting. Equally scene-stealing but less present is Arjona as Ashley. Right off the bat of Hitman , Arjona now shows an even more hilarious performance. Her comedic timing is extremely impressive, while the sexual awakening of her character guarantees some of the most intense scenes. After Ashley discovers what an open relationship can mean to her, her plan to make her ex jealous completely backfires. Instead of Carey violently going after them, he becomes friends with them, helping them with finding work and organizing game nights. Speaking of Carey, Marvin is excellent as this loveable, laid-back, and feisty lover. What starts as a more timid performance becomes more raunchy and entertaining. That first big fight scene between Carey and Paul certainly got a massive cheer from the Cannes audience, and it's easy to see why. Marvin's electric performance becomes even more enthralling because of Covino's more physical and aggressive acting. Both men have worked together in the past (on The Climb ), resulting in very naturally looking, impeccable chemistry and believable performances. Splitsville certainly is one of the best discoveries of the Cannes Film Festival this year. It's a great reminder that there are still American comedies out there that, while it doesn't take itself truly seriously, work after all. Not only because of the incredible dynamic between the cast and the absurd but entertaining script but also because of the humanness and down-to-earth aspect. The screwball comedy with a lot of heart will have you laughing out loud through its 90-minute runtime. Splitsville was screened during the Cannes Film Festival and is out in US theatres on the 22nd of August courtesy of NEON
Vogue
19-05-2025
- Entertainment
- Vogue
Forget OTT Glamour—Dakota Johnson Is Bringing Minimalism to Cannes
The annual Cannes Film Festival red carpet, which is under way in France this week, is known for a lot of things—namely, the extremely glamorous and over-the-top gowns worn by top Hollywood stars. Are they fanciful and glitzy? Yes; Cannes is not an affair known for its sleek and subtle fashions. More is more! That being said, a handful of stars who attend the event with a more stealthy-chic wardrobe in tow. A prime example is Dakota Johnson, who touched down in Cannes to promote her latest film, Michael Angelo Covino's Splitsville. Three appearances in, and the star is nailing a pared-back approach. Her fashion streak began on Sunday evening, when Johnson attended the 2025 Kering Women In Motion Awards (alongside fellow stars like Julianne Moore, Jeremy Strong, and Nicole Kidman). The actor wore an open-back Gucci gown that was fully embroidered with strass crystals and beads. Sure, it may have been the sartorial equivalent of a disco ball, but the simple column shape was sharp and streamlined—a far cry from the elaborate trains or frothy tulles that typically dominate Cannes.
