RICKY CAMILLERI: Even in
read that have described it as, like, a movie
about toxic masculinity or toxic male friendship,
I kind of take issue with that not because I'm toxic
but because I've been like the movie's not about that.
It's not trying to be about toxicity or toxic masculinity.
It's about the comedy of these two men
and how their relationship is funny.
KYLE MARVIN: Yeah.
I would say it's more about love than toxicity.
I mean, I think--
I think to have a relationship that
volatile that still stays together,
it has to be grounded in real love.
So I think it's more about that than the toxicity part.
MICHAEL ANGELO COVINO: Yeah.
I mean, to what Judith is saying,
I think the things we love most about French cinema
and a lot of European cinema is the romanticism
of the messiness of love and the [? comp-- ?]
and the gray area that most of those films
thematically live in.
And that's something that oftentimes
American cinema can use almost as a crutch,
meaning the black and white nature of things.
Like if we need a character be bad, we make them cheat.
And then everyone knows that they're bad,
and then that's it, and we don't have
to really explain any further.
It's like a very simple way to get everyone
in the audience on board with why now the protagonist can go
on this other journey because their wife
cheated on them or their--
and I think that's a little--
I don't want to say it's lazy, but I would say that wasn't
what was interesting to us.
What was interesting to us was exploring the realities
of life, which are people do do these things,
and the characters have to cope with it because it's not
as black and white as I'm never going to speak to this person
again.
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