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RICKY CAMILLERI: Even in
some of the reviews that I've

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read that have described
it as, like, a movie

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about toxic masculinity
or toxic male friendship,

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I kind of take issue with
that not because I'm toxic

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but because I've been like
the movie's not about that.

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It's not trying to be about
toxicity or toxic masculinity.

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It's about the comedy
of these two men

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and how their
relationship is funny.

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KYLE MARVIN: Yeah.

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I would say it's more
about love than toxicity.

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I mean, I think--

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I think to have a
relationship that

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volatile that still
stays together,

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it has to be grounded
in real love.

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So I think it's more about
that than the toxicity part.

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MICHAEL ANGELO COVINO: Yeah.

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I mean, to what
Judith is saying,

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I think the things we love
most about French cinema

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and a lot of European
cinema is the romanticism

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of the messiness of love
and the [? comp-- ?]

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and the gray area that
most of those films

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thematically live in.

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And that's something
that oftentimes

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American cinema can
use almost as a crutch,

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meaning the black and
white nature of things.

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Like if we need a character
be bad, we make them cheat.

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And then everyone
knows that they're bad,

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and then that's it,
and we don't have

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to really explain any further.

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It's like a very simple
way to get everyone

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in the audience on board with
why now the protagonist can go

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on this other journey
because their wife

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cheated on them or their--

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and I think that's a little--

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I don't want to say it's lazy,
but I would say that wasn't

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what was interesting to us.

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What was interesting to us
was exploring the realities

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of life, which are people
do do these things,

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and the characters have to
cope with it because it's not

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as black and white as I'm never
going to speak to this person

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again.

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[MUSIC PLAYING]

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