Images courtesy of Universal Pictures

A lot of people are saying that rom-coms are dead, but I don’t think that’s the case, as it’s still quite popular on streaming platforms. When it comes to theatrical releases, though, romantic comedies make up less than 1% of what Hollywood puts out each year, so it’s clear that major studios have abandoned the genre. That’s what makes Will Gluck stand out as a filmmaker; he’s got two theatrical rom-coms to his name, Anyone But You and One Night Only. 

This is my first introduction to Gluck, and the concept for this one is so absurd that I was intrigued to see if anyone could actually make it work. The plot takes place in an alternate universe set in New York City where premarital sex is banned except for one night a year for 12 hours. Gluck took this high-concept idea from Travis Braun, whose script was placed on the 2024 Black List.

One thing it’s got going for it is the cast, specifically Monica Barbaro as Allie, a commercial jingle singer so enchanting she could easily have chemistry with a light pole. Callum Turner plays her other half as Owen, a pizza shop owner whose plans for a sexy night with his girlfriend (Maya Hawke) get derailed when she announces during dinner that she wants to sleep with her neighbor. Meanwhile, Allie’s plan to hang out with her best friend is thwarted when she meets her prince charming (literally an African prince), leaving her on her own in the search for true love while everyone else is all hot and bothered.

People who opt for celibacy often get a bad rap in today’s world… no, I’m not referring to the online incel culture that the film takes a jab at. I’m talking about the perfectly normal and mentally sound individuals who view sexual intimacy as something sacred. But I get it; most of the movie’s target audience sees purity as something to scoff at. Now, even with the best intentions, there are areas where the government should stay out, and regulating our bodies is definitely one of them. So the idea of the government acting like Big Brother and controlling our sexual lives is not just unsettling; it’s frightening. In the film, citizens have to wear biometric wristbands that track their heart rates, hormonal fluctuations, and physical interactions. If someone crosses a line, the tracker notifies the authorities, and they get arrested by the state’s special morality police.

While this setup sounds ripe for a thriller or horror flick (à la The Purge with sex instead of a crime spree), here the fascist society serves as a quirky backdrop for a charming encounter between people who are obviously destined for each other. There’s hardly any political commentary, except for a quick appearance of a smarmy-looking politician on TV justifying the mandate in the name of family values. The title card informs us that the law was enacted three years prior, but we don’t get the details on what’s prohibited until about halfway through, presented as a poster in a police station featuring simple stick figures illustrating what’s legal versus illegal.

Even the greatest rom-coms require a massive suspension of disbelief, but this one takes it to another level. We’re supposed to believe someone as gorgeous as Barbaro struggles to find a guy while wearing that slinky dress that covers less than my one-piece swimsuit. Yet somehow, Barbaro pulls it off without coming across as sleazy. Even at her most frisky, she convinces us that she’s truly on the hunt for real love. What’s even harder to believe is that there are no riots or ongoing protests against the purity mandate in a liberal city with 8.5 million residents.

Rom-coms thrive on the chemistry between the leads, and luckily, Barbaro and Turner have that in spades. I have to admit, I’m still not completely sold by Turner (aka Mr. Dua Lipa) after seeing him in at least three other romantic flicks; the latest one was Eternity. But here, he’s actually pretty engaging, and the role suits him well (but please, he’s no James Bond!). He’s even game for some self-deprecating humor too, such as the bit about his ears when the two playfully trade insults: “Your ears look like car doors.” Those who grew up watching John Hughes’ teen rom-coms would get a kick out of seeing Molly Ringwald as Owen’s mom, who can’t wait to get it on with her boyfriend.

Curiously, Gluck makes this rom-com feel like an action movie with a frenetic ticking-clock plot where the characters run around to race against time, à la Run Lola Run, Speed, Midnight Run, etc. The two keep running into each other in the most bizarre situations, such as the fight over supposedly the only condom left in the entire city. With cinematography by Yaron Orbach, neon-lit NYC looks positively sultry. Every time they meet, we get a rapid-fire banter that occasionally delivers some laughs, and the script really milks the joke on Allie’s psoriasis jingle. While the premise may seem novel, all the rom-com tropes are there, and you can see what’s about to happen a mile away. 

While predictability seems to be par the course with rom-coms, with this one, it’s quite hard to view this far-fetched dystopian society under authoritarian rule as lighthearted. The ending is polarizing as it challenges hookup culture, which upsets those who think casual sex is a good thing; meanwhile, those who value purity and true love might feel offended that traditional values are portrayed as oppressive and vile. 

Personally, while the ending is a bit too saccharine despite the edgy premise, I view the main couple’s choice in the end as a form of defiance against government overreach, rather than a sign that they support the mandate. Instead of succumbing to the pressure of time-limited intimacy, they choose when to do so on their own terms. Ultimately, the message is something I can get behind…it promotes love over sex and that savoring the moment is more meaningful than instant gratification.