I Want Your Sex (2026) is directed by Gregg Araki, who also wrote the film alongside Karley Sciortino. It stars Cooper Hoffman, Olivia Wilde, Mason Gooding, Chase Sui Wonders, Daveed Diggs, Johnny Knoxville, Margaret Cho, Roxane Mesquida, and Charli XCX. The film follows Elliot Bell (Hoffman), a romantically frustrated 20-something who lands a job with controversial artist Erika Tracey (Wilde). Soon after, the two develop a highly sexual, controversial office relationship. As they go through a bunch of zany sexual scenarios, feelings eventually get in the way and put them both in grave danger.

Although Wilde is memorable as the Elizabeth Taylor/Virgina Woolf-like modern art legend, Erika Tracey (Wilde), Cooper Hoffman is the true standout. It’s often difficult to sympathize with the Elliot character’s somewhat self-inflicted plights, which include the consequences of shameless infidelity and casual, frequent alcohol abuse. Sadly, a lot of people will probably think this stuff makes him a cool, fun guy. The problem is that the script seems to agree. It typically works if a script takes a non-judgmental approach to such a character, but as soon as it has an opinion, it’s as if the viewer is being told how to feel. What’s strange is that the script never actually judges Elliot; It hypes him up. We’re constantly asked to root for him rather than just follow him, which sometimes feels like you’re being gaslit. Ultimately, he is the more likable of the two leads, but not so much so that he balances out Wilde’s morally corrupt, consistently nasty performance as Erika. Because of this, Erika often just lands as a whiny, unpleasant character who becomes harder to watch as the movie rolls along. Granted, this is sort of the intention, but it just feels like a modern version of Who’s Afraid of Virginia Woolf? (1966) without the masterful dialogue.

The film’s handful of climaxes are somewhat atypical, mostly centering on zany, taboo sexual encounters. This is no doubt a unique approach that sometimes bucks traditional plot trends, but it also feels extremely niche. Sex isn’t new or strange by any means, but I can’t imagine many people relate to it when it’s this kinky/taboo. The movie just acts like this kind of behavior is widely relatable, but I can’t imagine that being true for anyone other than people who are a part of the LA art scene or porn creators/addicts. In other words, I sort of get what the movie is going for; it’s just not for me. That said, the movie is original, never boring, and features two genuinely memorable, though not always spectacular, lead performances. 

Overall, this can be a fun experience for the demographic interested in this kind of thing, but it doesn’t offer much to win over skeptical viewers. It’s definitely not something I’d watch with a family member or the majority of my friends; it’s too dirty for that. That said, it’s entertaining, weird, and original, but a lot of its pieces don’t quite fit together. This is especially true in the final few minutes, which are just plain silly. Seriously, I don’t think I’ve rolled my eyes that aggressively in a long time. If this appeals to you at all, you probably already know about it; George Araki’s fans are fierce. I’m not one of them, but I still find this to be original, at the very least. C