The night after its premiere at Cannes, filmmaker Michael Angelo Corvino confessed, “We have no interest in hiding our emotions.” He was speaking about the eight-minute standing ovation that greeted his film,Splitsville, a moment of raw, unfiltered joy for him and co-writer Kyle Marvin. That honesty, that willingness to expose vulnerability, permeates every frame of their daring new work.
Splitsvilleisn’t a polite comedy; it’s a messy, hilarious, and often shocking exploration of modern relationships. The story centers on two couples whose lives unravel when a divorce ignites a revelation: an open marriage. The film doesn’t shy away from the complexities of desire, betrayal, and the enduring bonds of friendship, featuring Hollywood star Dakota Johnson and Adria Arjona alongside Corvino and Marvin.
The film immediately throws audiences into the deep end, opening with a roadside encounter that’s both provocative and unexpectedly interrupted. It’s a bold introduction to a film that isn’t afraid to push boundaries, and it sets the tone for a narrative that thrives on discomfort and unexpected turns.
Notably,Splitsvillefeatures a significant amount of nudity, but with a deliberate intention. Corvino explains they weren’t aiming for simple sexualization. Instead, the nudity, particularly involving the male characters, serves to amplify the absurdity and comedic elements of the story, adding layers of awkwardness and vulnerability.
Marvin echoes this sentiment, stating, “My character is vulnerable and he is naked in this movie, both physically and emotionally.” He believes this exposure creates an immediate connection with the audience, tapping into a universal fear – the feeling of being utterly exposed, both literally and figuratively.
While it’s still relatively uncommon to see two men collaborating on a romantic comedy, Corvino and Marvin don’t see it that way. They draw inspiration from masters of the genre like Richard Curtis and Nora Ephron, focusing instead on crafting authentic characters driven by relatable emotions. For them, gender is secondary to the core question: “Is this a character that I know, recognize and want to explore?”
The filmmakers are interested in the raw truth of human experience – the pain of betrayal, the sting of jealousy, the fragility of vulnerability. They believe these emotions are universal, transcending gender and societal expectations. “Anyone who says otherwise is just lying to themselves,” Corvino asserts.
A pivotal scene inSplitsville– a dramatically funny and chaotic fistfight between Corvino and Marvin’s characters – served as the film’s genesis. It’s a visceral reaction to a shocking revelation, a husband’s response to discovering his best friend’s intimacy with his wife, even within the context of an open marriage. The scene is deliberately absurd, yet deeply rooted in genuine pain and emotional turmoil.
The film’s energy is reminiscent of classic screwball comedies, evoking the spirit of Katharine Hepburn, Spencer Tracy, and Cary Grant. ButSplitsvilleupdates the formula with a modern sensibility, blending physical comedy with emotional depth. The physicality of the fight, performed by Corvino and Marvin themselves, adds a layer of authenticity and impact.
ProducingSplitsvillewithout the backing of a major studio presented its challenges, but the filmmakers embraced the freedom it afforded them. The climactic fight sequence, in particular, required weeks of rigorous rehearsal in a climbing gym, meticulously planning every move and emotional beat.
The final take of the fight – a chaotic crash through a glass window and into a swimming pool – was filmed in a single, brutal attempt. The result was a scene filled with genuine peril and exhilaration, complete with cuts, bruises, and a stunt coordinator declaring it the “best case scenario” despite the injuries sustained.
Splitsvilleis a film that dares to be uncomfortable, honest, and hilariously messy. It’s a testament to the power of vulnerability, the complexities of modern relationships, and the enduring strength of friendship, even when tested to its absolute limit.
