Because it is both a timeless argument for the value and wonder of romance and a cautionary tale of a relationship that noticeably fails, “Annie Hall” revolutionised the game. In a similarly absurd twist on the rom-com theme, “The Other Way Around” (Volverèis, or “You’ll Be Back” in the original Spanish) features a successful millennial director Ale (Itsaso Arana) and actor Alex (Vito Sanz) as the lead couple who joyfully break up with their friends and family. The relationship, which has lasted for more than ten years, according to their acquaintances, will be officially ended with a lavish celebration to honour the event. Ale and Alex are the only ones who consider this to be a reasonable proposal. Even if it was Ale’s father’s original notion, as portrayed by Fernando, the real-life father of director Jonás Trueba, cannot comprehend it. The idea appears to have originated from a stand-up “I hate my wife and will party when she leaves” mentality from the 1990s. Why rejoice when serving a life sentence in prison? blah yadda. But like polyamory or a lavish gender reveal, Ale and Alex welcome it as a lighthearted diversion from the grind of everyday existence.
Some pals handle the news well, while others don’t. The actors who play Alex in Ale’s next movie wager on whether or not they’ll have second thoughts. Their beliefs regarding the couple’s future end up serving as a stand-in for their personal desires and anxieties. Ale and Alex’s friendship circle sees the world as a microcosm, and cooking is presented as an intellectual exercise in this episode of “The Other Way Around.” Even when our friends appear to be joyful about their breakup, how sad should we feel when it happens? Is change that seems harmless to be good or bad? However, as Ale and Alex plan the celebration, they become aware that they still have a tonne of work to do before they can be left alone. That is initially more of a logistical hassle than a psychological burden. Then the two begin to combine.
Here, Trueba tries out some dreamy narrative and daring editing methods, which effectively highlight the cracks in Ale and Alex’s widely reported certainties. Sanz portrays Alex as a composed, self-assured man who will gladly accept mediocrity if it means living a happy life. Arana’s Ale is far more practical; she searches for the meaning of life’s major issues and finds the profound in the ordinary. The fact that Arana is now a film director herself enhances her acting; she does an especially good job in the suspenseful scene where she is introducing her film to the actors and crew for the first time.
The scenario where Ale approaches her father in search of support for her goals but meets a sceptic may be the most important one. He pulls out an old copy of Kierkegaard’s Repetition, an autobiographical account of a young guy who changed his mind about proposing to a girl, and begs Ale to switch strategies. Ale considers what her father says, but she considers his offer to throw the celebration at his house more because it’s a nice location.
Naturally, there is some doubt beneath the surface, and it’s a really lofty idea. The argument put forth by Kierkegaard that we chase the familiar incessantly had an influence on “The Other Way Around.” However, it also alludes to Hegel in that it seems that severing the bond fosters a newfound closeness. Hegel posited that synthesis arises from the meeting of a thesis and a counter-thesis. That may seem like a big jump given that Hegel was discussing how societies structure themselves over generations, but “The Other Way Around” discusses the comparable coexistence manoeuvres we all engage in. That danger can serve as a reminder of the original meaning of life. Alternatively, as Nietzsche, another German philosopher, put it, “What doesn’t kill you makes you stronger.”
Not that “The Other Way Around” is a grand love story that concludes with the declaration that “they were meant to be.” Not at all. However, it’s incredibly realistic about how new appreciations can arise from endings or the expectation of them.
“The Other Way Around” is a delightfully mature addition to a genre that seems to have become blander and sillier in recent years. It is smarter than almost any contemporary American studio romantic comedy in that it raises important issues regarding the nature of relationships and romance. The American romantic comedy faces an existential threat, thus in an attempt to compete, it has become increasingly formulaic. The Other Way Around is a crucial reminder that there is a better way, much like “The Worst Person in the World” (albeit “Long Shot” appears high concept in comparison to what we see presently). Viewers ought to enjoy it. It should be viewed by filmmakers.
