Bursts of semi-surrealist humor breathing with potency and truth, fluid sexuality, and frank humor. Such are the films of Gregg Araki. The director’s latest, I Want Your Sex, is the perfect cinematic tonic; a picture rich in character and emotion made for adults.
Helming his first film since 2014’s White Bird in a Blizzard, Araki and co-writer Karely Sciortino give today’s puritanical and constantly offended generation their own brand of cinematic, “Snap out of it!” This is a film illuminated by an unabashed sexual freedom that has something interesting to say regarding obsessive attitudes, the trappings of ego, and one’s perception of a fading spotlight.
Hidden within a more conventional narrative, Gregg Araki’s subversive sting is effective. The film’s examination of an inappropriate office relationship between boss and underling carries more weight than the goofy sexual politics of Barry Levinson’s Disclosure and is more emotionally honest than the ridiculous Nicole Kidman not-so-sexy drama Babygirl.
I Want Your Sex is designed with a realistically comedic edge that pulsates with a more transgressive design regarding modern sexuality.
Having one hell of a great run in 2026, Olivia Wilde continues to impress as Erika Tracy, one of Araki’s best characters to date. Erika is a famous Pop artist who creates feminist art designed with a sexual charge. Wilde’s performance (along with her work in this year’s The Invite) is a bold mix of erotic fire and neurotic self-reflection. The actress crafts a unique performance that plays as a modern, leather-clad, Dominatrix version of Gloria Swanson’s Norma Desmond. Erika’s unique voice has given her serious “street cred” in the Art world, but the continually-shifting taboos of the modern era raise questions regarding her longevity. As neurosis about aging out of her standing as a (sort of) sexual icon grows, Erika’s quest to be desired at all costs becomes emotionally dangerous to any and all within her orbit.
Giving his best performance to date, Cooper Hoffman does his late father (Phillip Seymour) proud as Elliot, Erika’s new employee, hired as her art gallery assistant. Almost immediately, Erika crosses the line and declares her interest in sleeping with her subordinate. Without much hesitation, Elliot accepts and embarks on a journey that breaks through his sexual taboos. The Dom/sub relationship between boss and underling becomes something surprisingly intimate for both participants. While Erika is aggressively self-serving, her affection for Elliot becomes real. Born from this surprising bit of “caring” is an inner struggle between boy-toy fun that satisfies her power dynamic and respect for the young man with a good heart.
Revisiting the earlier reference to Billy Wilder’s Sunset Boulevard, the film begins with what is perhaps an homage to that timeless classic, as a naked and presumably dead body floats face down in a swimming pool. The moment sets the stage for the somewhat unnecessary through line of Elliot being interrogated by two homicide detectives (Margaret Cho and Johnny Knoxville). These moments add nothing to the story and waste the talents of Cho and Knoxville; their characters written without substance and presented and performed without much enthusiasm.
Mason Gooding fares better as Zap, Elliot’s gay work buddy who tries to help. Daveed Diggs makes something fun out of a nothing role as Erika’s partner in business and “crime”, while Charli XCX does the same as Elliot’s “I could give a shit about you” girlfriend.
The film’s MVP is Chase Sui Wonders as Apple, Elliot’s roommate and best pal. The character grounds the emotional connection of the screenplay as the actress steals every scene, bringing humanity and earned pathos to a lovelorn soul who desires real connection. Wonders is intoxicating and deeply moving in one of the year’s best performances.
As with any film from Gregg Araki, his latest is an enthralling blend of camp, dark humor, serious insight into lost souls, social commentary, and a unique sexual spark. The filmmaker never tiptoes around his intentions and is against kowtowing to modern sensibilities.
The screenplay has wicked fun with Erika’s conniving and distrustful behavior, but the film never colors her as villain. Erika is scared and broken; staring at a future that sees her as getting older, which in the world of Art and celebrity means, “Past your prime.” Perhaps her misguided mistakes (and they are doozies) towards her relationship with Elliot will help her reset and find a more enlightened path into the new landscape. Araki’s films may be rebellious, but the director always infuses each work with glimmers of hope.
The sex between Erika and Elliot is not presented as something dark and taboo. Erika is the aggressor, but Elliot is the willing sub. This “everyman” worker bee opens up (literally and figuratively) to everything his Dom requires. Araki and his cinematographer Tucker Korte don’t go for the darker MTV-styled flash of Adriene Lynne’s 9 1/2 Weeks, nor do they try their hands at the artfully disturbing erotic imagery found in Bertolluci’s Last Tango in Paris. Araki doesn’t suggest something unmentionable. These are two adults freely and gleefully diving into what gets one another off. Araki and Korte shoot the sex in bright light and popping pastels. Nothing to feel dirty about here. As George Michael sang, “Sex is natural. Sex is fun.”
I Want Your Sex keeps its theme of image (self and public perception of) strong throughout. Araki and Sciortino’s screenplay has a clever and satirical emotional potency, presenting sexually daring characters lost in a modern world that is too quick to kink shame. What Erika and Elliot learn about themselves gives Araki’s sex-positive style an unexpected weight.
As the picture pushes back against today’s finger-wagging puritanical society, Gregg Araki has created a topical film; one that is alive with free attitudes and proud sexual expression.
That he manages to find the beating heart of his characters makes it something even more special.
I Want Your Sex
Written by Gregg Araki & Karely Sciortino
Directed by Gregg Araki
Starring Olivia Wilde, Cooper Hoffman, Chase Sui Wonders , Mason Gooding, Charli XCX, Daveed Diggs
R, Magnolia Pictures, Black Bear, Desperate Pictures