Gregg Araki, known for his distinctive and often edgy cinematic voice, makes a return to filmmaking with "I Want Your Sex," a new release that delves into contemporary sexuality. The film, which premiered in theaters on July 31, examines the notion that younger generations may be having less sex, through the experiences of its Gen Z protagonist, Elliot, played by Cooper Hoffman.
Elliot's life takes a dramatic turn when he begins working as an assistant for the provocative modern artist Erika Tracy, portrayed by Olivia Wilde. Erika initiates a sexual relationship with Elliot, which quickly intensifies. The dynamic becomes complicated as Elliot struggles to adhere to Erika's stipulation that the relationship remain purely physical.
The initial half of "I Want Your Sex" showcases Araki's signature quirky and surreal humor. Scenes set at Erika's studio depict Elliot bonding with a coworker, Zap (Mason Gooding), while navigating the demands of Erika's business manager, Vikktor, humorously embodied by Daveed Diggs. The film effectively captures Elliot's journey into becoming the subordinate of his powerful boss, delivering outrageous and comedic moments that are amplified by strong casting.
Wilde delivers a compelling performance as Erika, a character who has transformed her life into a form of performance art. She skillfully balances the portrayal of Erika's focused and amused demeanor with the possibility of underlying artifice. Hoffman, building on his previous roles, brings an accessible and likable charm to Elliot, making the character endearing as he is drawn into Erika's orbit, embracing the euphoric experience and her attention.
A particularly memorable sequence occurs when Erika proposes a threesome and tasks Elliot with finding a third participant. Elliot impulsively invites his college friend and roommate, Apple (Chase Sui Wonders), to join them. Wonders, who previously impressed in "The Studio," is outstanding as her character navigates the excitement and tension of the impending situation. This segment masterfully blends broad comedy, sensuality, and awkwardness.
Despite the strength of this sequence, it marks a high point, with the film's later acts facing challenges. The third act introduces a framing device where Elliot is interviewed by two police detectives, Johnny Knoxville and Margaret Cho, following an unspecified dark event. The revelations in this section feel rushed and less compelling than the earlier narrative.
Several elements in the film's conclusion feel underdeveloped. Certain character transgressions appear to be dismissed too easily by both the affected parties and the narrative itself. Notably, a significant plot point is not revisited in a meaningful way, despite its potential importance within the film's context. The absence of Apple in the latter half of the movie is also conspicuous; while there's a plot-driven reason for her departure, her significant role earlier in the film makes her lack of closure feel like a missed opportunity.
Furthermore, "I Want Your Sex" seems to sideline its initial explorations of how young people might perceive sex in the current climate, influenced by factors like the COVID generation, and the power dynamics inherent in the relationship between Erika and Elliot. By the film's end, these complex themes are overshadowed by a focus on the May-December romance aspect, neglecting the more nuanced issues the film initially set out to explore.