© Los Ilusos Films
Jonás Trueba’s “The Other Way Around” is a sensitive, cerebral rom-com that balances humor, philosophy, with meta-fictional elements, and uses the latter two elements to distinguish itself from the genre. The film follows Ale (Itsaso Arana) and Alex (Vito Sanz), a couple on the brink of separation after 15 years together. Trueba’s approach to the narrative is unconventional and refreshing, turning the typical breakup story on its head by having Ale and Alex throw a party to celebrate their separation and repeatedly finding themselves having the same conversation.
Original Title: Volveréis
Director: Jonás Trueba
Year: 2024
Country: Spain, France
Runtime: 114 minutes
The title, “The Other Way Around,” reflects the film’s narrative—celebrating a breakup as one might celebrate a wedding. Ale’s father’s words, played by Fernando Trueba (Jonás’ real-life father), provide the catalyst for having proposed this unusual idea by suggesting that we should honor separations with the same significance as unions. This suggestion, initially given in passing, becomes the foundation of Ale and Alex’s decision to part ways ceremoniously. The film thus seemingly becomes an exploration of the idea that separation, when mutual and consensual, can be a positive and transformative experience.
During the first half of the film, Trueba mainly centers the narrative, showing us Ale and Alex’s preparations for their separation party. The couple’s repeated conversations with friends, family, and colleagues about their breakup provide a rich vein of humor, if not a level of irritation, which we later learn is a deliberate decision by the director. Nearly every encounter is marked by shock and disbelief from those around them, emphasizing the couple’s status as a paragon of love. Trueba finds comedy in these repetitive conversations, as Ale and Alex reassure everyone (and perhaps themselves) that they are fine, and that this breakup is a positive step. This repetition underscores the absurdity of the situation and the couple’s attempts to normalize their unconventional decision.
Trueba’s narrative takes a philosophical turn that shifts the viewer’s focus to the film’a structure and Trueba’s stylistic devices rather than just narrative when Ale meets with her father to inform him about the party. His surprise at the news—having perhaps not intended his advice to be taken literally—forces Ale to reconsider her plans. This moment introduces a reflective dimension to the film, as Ale’s father discusses Stanley Cavell’s philosophy that cinema can improve us, and hands her Kierkegaard’s book on repetition, which posits that repetition is the only form of happy love. These philosophical interjections encourage the audience to reflect on the film’s recurring motifs and the nature of living in the moment. From this point on, the viewer is encouraged to reflect on the repetition we’ve previously encountered in the film. We learn that it is in these moments of repetition where we come to learn more about our two protagonists and their intentions; through their varying reactions to the different responses they receive to their announcement. Repetition is also a tool where the relationship between the two protagonist blossoms the most, as they are fully on the same wavelength and living in the moment, creating a palpable sense of chemistry that’s visibly absent when the two are not together.
Trueba adds another layer of complexity with a meta-cinematic twist. Ale is a director working on a film, with Alex as her lead actor. As the story unfolds, it becomes apparent that Ale’s film closely resembles—or perhaps is—the one we are watching. This blurring of the lines between the film within the film and the actual narrative is both clever and self-reflective. In a particularly amusing and intelligent scene, Ale presents her film to an audience, sparking critiques about its runtime, focus, and use of repetition. This allows Trueba, through Ale and the critics, to comment on his stylistic choices and the broader implications of viewing a film as something beyond mainstream storytelling structures.
“The Other Way Around” is a film that invites viewers to ponder the complexities of relationships and the significance of rituals through the application Kierkegaard’s philosophy on a romantic couple on the brink of seperation. Trueba’s intelligent use of repetition serves a thematic exploration of how relationships evolve and how people come to terms with change. Despite their impending separation, their shared experiences and mutual understanding are beautifully captured through the film’s structure. By the end, the audience is left to contemplate whether Ale and Alex’s separation will indeed lead to a reunion, as hinted by Ale’s father, or whether the film’s true message lies in the acceptance of change and the embrace of new beginnings.
Jonás Trueba’s “The Other Way Around” is a charming and thought-provoking exploration of love and the power of repetition. Its playful narrative, philosophical underpinnings, and meta-cinematic elements make it stand out in the rom-com genre, offering a fresh, academically-informed perspective.
“The Other Way Around” premiered at the 2024 Cannes Film Festival as part of the Director’s Fortnight sidebar.
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