By Jason Osiason

I had a lot of fun with I Want Your Sex, and honestly it feels like everyone in the movie did too. The cast is clearly having a blast and Gregg Araki leans into that energy completely. This is not some reinvention of erotic cinema or a big philosophical statement about sex. It is horny, silly, glossy, totally unashamed fun.

Araki has always been interested in sex as chaos and liberation, and here it feels like he is directly responding to a culture that has suddenly become weirdly anxious about it. The movie basically plays like Araki throwing his hands up and saying fine, if everyone is going to get so uptight about sex, I’m just going to make the dumbest, most gleefully excessive sex comedy I can.

The story follows Elliot, played by Cooper Hoffman, a somewhat naïve young guy who lands a job working for Erika Tracy, a famous and provocatively unfiltered contemporary artist played by Olivia Wilde. Elliot thinks he’s getting a dream creative job. What he actually gets is recruited into Erika’s strange personal orbit where she essentially turns him into her living sexual muse.

And by muse I mean she basically decides he is going to function as her personal sex toy.

What follows is Elliot slowly getting pulled deeper into Erika’s chaotic world of art installations, sexual experimentation, and emotional manipulation. At first he’s thrilled by the attention and the access to this glamorous art scene. But as the relationship escalates it starts wrecking his life in increasingly ridiculous ways. His friendships suffer. His sense of identity starts slipping. And yet he keeps going back because he’s both fascinated and completely under Erika’s spell.

Cooper Hoffman plays Elliot with this perfect mix of curiosity, insecurity, and slow motion self destruction. He’s basically a puppy wandering into a house party he’s not prepared for. Olivia Wilde, meanwhile, absolutely commits to the bit. Erika is seductive, narcissistic, manipulative, funny, and fully aware of the power she holds over people around her. Wilde plays her with this chaotic confidence that makes it believable why Elliot would let himself get dragged along for the ride.

The movie also constantly cuts through the orbit of people around them. Friends, gallery figures, other artists, hangers on. Everyone feels like they’re living inside this weird art world ecosystem where boundaries between sex, performance, and personal relationships barely exist anymore.

Visually the whole movie feels like Araki tapping directly into late 90s and early 2000s pop excess. Glossy costumes that look like they were pulled straight out of the Oops!… I Did It Again era. Neon colors. Over the top art installations. Rooms filled with toys and props and ridiculous set pieces.

And yes the movie fully commits to the bit. Dildos. Strap ons. Sex toys everywhere. Araki treats the whole thing with this casual irreverence that makes it feel playful rather than shocking.

Underneath all the silliness there is still a clear theme running through the film. Araki seems fascinated and maybe a little annoyed with how younger generations talk about sex. There’s this sense that he sees a culture that once celebrated sexual freedom now constantly analyzing and policing it. I Want Your Sex feels like him pushing back on that with the cinematic equivalent of a shrug and a laugh.

Is it groundbreaking? Not really. The movie doesn’t dig very deep into its ideas and the narrative mostly runs on vibes and escalating absurdity.

But honestly that feels intentional. The film isn’t trying to be profound. It just wants to be a messy, horny, ridiculous good time. And on that level it absolutely works. [B]