In the intricate dance of romantic coincidences, the film deploys a serendipitous encounter between Boston University law student Bea, portrayed by Sydney Sweeney, and Goldman Sachs employee Ben, played by Glen Powell, as the linchpin of its narrative. At a bustling coffee shop, an initial brush with fate inspires their tale. Bea needs a restroom key but faces the barrier of a long purchasing line. Ben, epitomizing chivalry at the line's forefront, swiftly pretends to be her husband and procures the key for her. This spontaneous act sets off a chain reaction, culminating in a day of bonding and unexpected overnight camaraderie on Ben's couch. However, come morning, the delicate threads of their connection begin to unravel. Bea's inadvertent eavesdropping on Ben's degrading remarks to his friend Pete, played by GaTa, leads to heartache and an abrupt departure. Here, the film cleverly manipulates perspective, showing Ben's private vulnerability as he clutches his mother's symbolic 'giant wrench'—a metaphor for fixing what is broken—revealing Bea's unique position in his life.

The passage of six months marks a critical juncture. A coincidental intersection—Bea's sister Halle's budding romance with Pete's sister, Claudia—throws Bea and Ben back together. The frosty reunion is laden with a complex web of accusations and unresolved feelings. Bea lambastes Ben's disparagements, while Ben cannot forsake Bea's sudden absence. The film meticulously illustrates their emotional stalemate, enforcing their standoff with the seismic announcement of Halle and Claudia's engagement. The wedding in Sydney, a high-stakes backdrop, exacerbates the relational drama as Bea confronts newly fragmented ties: her breakup with Jonathan, played by Darren Barnet, and clandestine withdrawal from law school heighten her inner turmoil. The narrative crescendos as Bea and Ben find themselves on the same flight to Australia and eventually under the same roof, entrenched in escalating animosity that risks overshadowing the impending nuptials.

The arrival in Sydney broadens the tapestry of interpersonal dynamics. The presence of Bea's and Ben's ex-flames, Jonathan and Margaret (portrayed by Charlee Fraser), creates a volatile mix of jealousy and unresolved pasts. Ben's forced proximity to both Bea and Margaret, along with Bea's parental pressure to reconcile with Jonathan, sets the stage for heightened tensions. The wedding preparations become a war zone of grudges and reluctant partnerships as Claudia fears their hostility will ruin her perfect day. In a strategic twist, the ensemble orchestrates a charade, pushing Bea and Ben to feign a romantic relationship both to allay familial pressures and to evoke envy in their past partners.

This contrived coupling teeters on the precipice of authenticity, as early attempts to sell the façade falter. However, a turning point during a boating party ignites a palpable chemistry. The film cleverly exploits iconic cinematic moments, with Bea and Ben echoing "Titanic's" romantic imagery, only to subvert it through a comedic tumble into Sydney Harbour. As they await rescue on a buoy, an unexpected candidness emerges. Bea confesses her withdrawal from law school, highlighting her struggles with a seemingly conflict-free relationship with Jonathan. Ben, in turn, reveals the wound left by her initial departure, a slip into self-sabotaging insults. This moment of vulnerability sets off a series of emotionally charged decisions.

However, the reconciliation is short-lived. Post-intimacy insecurities cloud their fledgling rapport. Bea's offhand musings on her recent mistakes dishearten Ben, prompting a premature vanishing act akin to her own previous flight. On the morning of the wedding, complications further ensue. Bea's tacit blessing for Margaret's pursuit of Ben risks derailing the fragile trust built during their buoy-bound conversation. Through Pete's indiscretion, Bea's academic secret reaches her parents, leaving her vulnerable and betrayed.

The narrative tension peaks as a family dog destroys the wedding cake, inciting an argument overheard by Bea between Halle and Claudia. This confrontation becomes a critical pivot, spurring Ben to propose another facade of reconciliation for the ceremony's sake. By showing a shared resolve, they orchestrate a seamless wedding, only for the façade to crumble as Bea witnesses Margaret propositioning Ben. In her distress, Bea retreats to the Opera House, the scene of their scheduled date, symbolizing yet another downfall in their tempestuous bond.

Meanwhile, the film's resolution hinges on Ben's epiphany. Convincing and transformative, he rejects Margaret—a vestige of bygone affection—and leaps from a cliff into the Pacific Ocean to pursue Bea. Reinforced by the wedding guests' encouragement, Ben commandeers a rescue helicopter, racing to salvage their relationship's potential. The climactic confrontation at the Opera House sees Ben express remorse, admitting fear of their relationship becoming another life regret. This role reversal marks a poignant culmination, reinforcing the notion that love, despite its imperfections and miscommunications, holds the potential for healing and growth.

The film concludes with their reunion at the wedding reception, the realization of an elaborate but necessary orchestration to mend fractured ties. Subverting expectations, Halle and Claudia unveil their own orchestrated quarrel to cajole Ben and Bea towards resolution. The narrative deftly redirects fate, illustrating power dynamics and reconciliation's unpredictable course. Jonathan and Margaret, too, find solace in each other, suggesting that the tangled web of heartbreak can yield unexpected joy. Through its complex intersection of familial expectations, romantic missteps, and personal growth, "Anyone But You" delivers a nuanced reflection on the intricacies of modern love and the relentless pursuit of genuine connection.