I Want Your Sex: An Unsubtle Nudge To Have More Sex

Over time, the divide between generations continues to grow, inherently leading to debate one way or the other. Skipping all the ‘back in our day’ talk, legendary director Gregg Araki’s concern about how Gen Z does not have enough sex, according to reports, is the basis of his latest feature, I Want Your Sex. When it comes to the film itself, it is not exactly subtle about it either. Tackling this thesis with style (as opposed to substance), it serves more as a broad-strokes commentary on Gen Z, than as an actual story. Maybe this reaction is a generational thing, but those who can better connect with it, and get on its wavelength, will find the most enjoyment. Edgy and outrageous for the sake of chaos, they only exist to elicit shock and awe, while not adding to a point that is clear to see. Stars Olivia Wilde and Cooper Hoffman make for a decent dynamic, however, playing thin characters that are essentially a means to end for the film’s commentary, this presents a barrier from connecting with them on a deeper emotional level. Running at only 90-minutes, the film is a flash in the pan that will come and go just as quickly, at least until it inevitably gets found again in the future as a cult classic, as many Araki films have.

I Want Your Sex centers on Elliot (Hoffman), a well-meaning but lost, socially-awkward twentysomething who finds himself in over his head after landing a job with provocative artist Erika Tracy (Wilde). Playing off the dynamic between Elliot and Erika, the film makes its not so subtle Gen Z commentary, setting the former up as an analog for the generation that she challenges to come out of his shell by embracing his sexual side. Quickly dismantling what one would consider traditional workplace boundaries, she drafted him as her sexual muse, basically Erika’s submissive, he welcomed and seemed to thrive in the loss of control, shedding all his worries and anxieties away to a greater power. Getting to live out his sexual fantasies with her, Elliot was living his best life. However, as their relationship progressed, what was first about sex became something more, at least from his perspective. Developing romantic feelings for Erika, he continued to submit himself to the escalating series of sexual antics she put him through. Balancing his relationship with Erika, alongside his relationships with his perpetually busy science student girlfriend Minerva (Charli xcx) and his friend and roommate Apple (Chase Sui Wonders), this left Elliot in an internally compromised position. Unlocking what was a dormant part of him, he started to question his own identity and his relationships with others.

Featuring characters whose main purpose is to push a clear agenda, there isn’t much else to them other than what they represent. To that effect, Erika and Elliot only work because of Wilde and Hoffman, making thin characters a bit easier for audiences to latch on to. Making a career of pushing the envelope, using sex and human sexuality as a major inspiration for her art, the serial provocateur would eventually push Elliot beyond his limits. Little did he know, in what should not come as a surprise to anyone, he was far from Erika’s first muse, as her unorthodox methods were no secret to those working for her. Finally realizing that he was in over his head, his life slowly began to crumble at the expense of his arrangement with Erika. A mere pawn in her game, with no girlfriend, no place to live, and a tenuous employment situation, in spite of these new circumstances, Elliot’s feelings for Erika persisted. Moving in with his cartoonishly gay co-worker Zap (Gooding), this new dynamic allowed for some comedic relief during the more tense part of the story. In the end, something had to give as far as Elliot and Erika are concerned. After putting all of its cards on the table, the result could have been a major breakthrough opportunity for him or a learning lesson for her, but the lack of circumstances was certainly disappointing to see, as the film’s inability to craft a satisfying conclusion for it and its characters made for the proverbial nail in its coffin. That being said, one’s mileage may vary.

I Want Your Sex definitely does not lack in style or edge, and it is not subtle in how it gets its message across. While its vibrant color palette and flashy set design are nice to look at, the film’s tone may be a point of contention for some audiences. Despite not targeting mass audiences, it is meant to start a larger conversation about sex. Whether or not that mission will be successful remains to be seen, but all the film amounts to is a nudge. Not bringing anything new to the table in terms of commentary, it plays as more of a lecture than a call to action. In the midst of it all, the best part of the film is the pairing of Wilde and Hoffman, as Erika and Elliot. Bringing it credibility, casting such familiar names helps its message have more of an impact thanks to their ability to elevate their characters. Wilde is fearless and has never been hotter, tackling a much different role than what audiences are accustomed to seeing from the actor-director. Offering up the kind of unhinged energy that is so irresistible to watch as the yin to Hoffman’s yang. Hoffman’s sheer likeability and relatability gives his pseudo-everyman analog character a humanity that makes him compelling to watch.

Above all else, I Want Your Sex is an unapologetic dark comedy that only exists to push a message, but there is still enough compelling here thanks to Olivia Wilde and Cooper Hoffman.

still courtesy of Elevation Pictures

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.