Sometimes, you only realise you wanted something when you don’t have it anymore. Like hair. Or a dead parent. Or a relationship.

This comedy takes a quirky look at the relationships of two couples, who when they both split, it has overlapping consequences.

Driving to a friend’s idyllic home by the water are Carey (Kyle Marvin) and his wife Ashley (Adria Arjona).

They get into a heated discussion, which leads to a car accident, and Carey running the rest of the way to his friend’s home. Paul (Michael Angelo Covino) lives there with his wife Julie (Dakota Johnson), and their young son Russ (Simon Webster).

It’s there that Carey announces that he just split up with his wife, which the couple are very supportive with when hearing the news.

He tells them that Ashley had just confessed to be unfaithful, which they disapproved of. They then went to say that it wouldn’t happen to them, as they were in an open relationship, which was news to Carey.

It was a nugget of news that would act as a catalyst that would test all parties concerned.

Talking of relationships, this is Covino’s second time directing, with his first effort 2019’s The Climb, also starring Marvin, who also co-wrote the script, as he did here. They play best friends here, and their relationship soon becomes just as complicated as the ones with their other halves.

The concept of open relationships is at the heart of the film, acting as a thematic revolving door, dressed up as a kind of make-do band aid for relationships.

It’s very much a comedy, a brutally dark one at that, and although it’s a little on the predictable side, there are some genuinely funny scenes, some sadly at the expense of goldfish, giving it an outrageously silly quality.

It’s impressive that they caught such a big fish themselves by way of Johnson, who may have taken the project from the run of heartbreak she’s had with a number of recent projects - Madame Web anyone? – and she certainly seems to be enjoying herself, despite the fact it didn’t perform that great itself at the box office.

But don’t let that bother you, as it’s an occasionally dry, and often downright ridiculous comedy, that at the same time highlights the vulnerability that can come at any stage in a relationship, but must notably the end, when the impending de-coupling shines a spotlight on the reality of suddenly being alone again.

It’s almost worth the price of admission alone for Nicholas Braun’s wickedly funny cameo, playing a mentalist, who should really have a spin-off from this all of his own – but he knew we’d say that.

This indie film has the surprising ability to catch you unawares, despite its predictable narrative, and whether you’re in a relationship (open, or otherwise) or not, it makes for a highly enjoyable date night.