They stick together because its comfortable-familiar companions who eat spaghetti dinners on Sunday (Spaghetti Sunday!) and watch reruns of Arrested Development. Now, our protagonists are more roommates than lovers. The sadness only sets in because we see the remnants of a once vibrant relationship that has since disintegrated. They kibbitz and share similar interests. Moreover, it just feels “real.” Both characters are likable enough-this isn’t a story of two people moping around and being miserable for 13 minutes. While that description sounds terribly depressing, it would be a misnomer to classify Callahan’s film as such (at times, it’s actually really funny).
This about the love between two people ending, and just how damn unceremonious and uncomfortable that can be. There are no bedroom window boom boxes or car crashes or farewells in the rain. Shot in essentially one location and only focusing on two actors, it’s a slow build examination of a relationship that has gotten stale and on the verge of puttering out. Rather, more commonly, people just sort of drift away from one another.Īs a low-key follow-up to another recent break-up film selection, All’s Fair, (a pensive ying to the latter film’s ostentatious yang), Michael Callahan’s We’re Having Sex is a character piece at its core. Relationships don’t usually end in bombast-you know, those tearful, melodramatic goodbyes and/or grandiose shouting matches.
When it comes to break-ups, Hollywood so often gets it wrong.
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