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Gregg Araki\u2019s first film in over a decade opens with chaos: a naked female body facedown in a pool and a terrified male onlooker in pink lingerie, nose bloodied. Sex and shock are on a par with oxygen in the cult filmmaker\u2019s oeuvre \u2014 his \u2018Teenage Apocalypse\u2019 trilogy features suicide, the forcefeeding of a severed appendage and an abundance of boundary-crushing fornication. In 2026, however, the teens ain\u2019t what they were, and Araki and his co-writer, sex journalist Karley Sciortino, have mined Gen Z\u2019s tangled relationship with pleasure for their BDSM two-hander.<\/p>\n
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![\"I](\"https:\/\/imdbnews.ir\/wp-content\/uploads\/2026\/08\/i-want-your-sex.jpg\")
<\/div>\n<\/p>\n Taking the role of dom is Olivia Wilde\u2019s Erika Tracy, a strikingly assembled artist-turned-floating-body. She hires Elliot (Cooper Hoffman), an aimless soul 14 years her junior, as an assistant. Told through flashbacks, with Elliot as a witness speaking to detectives Zola and Zem (Maggie Cho and Johnny Knoxville), we learn that a week into the job, Erika invites him to enter into a sexual relationship with her. Partly for her art, also for fun; the motivations aren\u2019t dwelled upon, as Elliot\u2019s hungry eyes can barely stay in his skull.<\/p>\n <\/span><\/p>\n A rallying cry for the young, insecure and horny.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n <\/p>\n A kaleidoscope of coitus ensues, more screwball than sensationalist. Elliot crawls on the floor upon Erika\u2019s command and splays out blindfolded, thirstily awaiting her touch. In no time he\u2019s intoxicated, his tantalising second life a tonic compared to his modest houseshare and uninterested girlfriend Minerva (Charli xcx, an eye-roll in human form). He bears all the surface traits of a modern, liberal young man: a \u201cForever Feminist\u201d laptop sticker, a shabbiness that feels part-accidental, part-curated. Yet Hoffman makes him an open book: earnest, charming, and easy for even the icy Erika to warm to. In a sweet, stolen moment, Wilde slides her thumb into Hoffman\u2019s mouth while he sits on her lap, her fingers gently stroking his beard.<\/p>\n <\/span><\/p>\n Erika is assigned little backstory but Wilde knows when to give a little more and when to take even more away. What few personal breadcrumbs Erika dispenses Elliot devours, hoping the trail will lead to a steady relationship. It\u2019s predictable yet understandable: on his podcast he describes his generation\u2019s \u201cconflicted and confusing\u201d feelings about sex, amplified by the pandemic. Erika is all answers in a world of overwhelming questions (Elliot even has \u201cYes?\u201d and \u201cNo?\u201d tattooed above his knuckles). I Want Your Sex<\/em>, alas, is hung up on the questions. The mystery of the opening scene drives the story towards a spirited but ambiguous conclusion, instead of burrowing further down the kinky rabbit hole. Yet a somewhat stilted end to the dynamic doesn\u2019t undo the fizz and thrills that have come before.<\/p>\n <\/span><\/div>\n A rallying cry for the young, insecure and horny that doesn\u2019t reach a wholly satisfying climax. But, bolstered by a magnetic Cooper Hoffman, this still has plenty of bang for your buck.<\/p>\n","protected":false},"excerpt":{"rendered":" Twenty-three-year-old Elliot (Cooper Hoffman) becomes a sexual muse for his older provocateur boss Erika (Olivia Wilde). Gregg Araki\u2019s first film in over a decade opens with chaos: a naked female body facedown in a pool and a terrified male onlooker in pink lingerie, nose bloodied. Sex and shock are on a par with oxygen in […]<\/p>\n","protected":false},"author":1,"featured_media":13484,"comment_status":"open","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"class_list":["post-13483","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47"],"_links":{"self":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13483","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/comments?post=13483"}],"version-history":[{"count":1,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13483\/revisions"}],"predecessor-version":[{"id":13485,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13483\/revisions\/13485"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media\/13484"}],"wp:attachment":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media?parent=13483"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/categories?post=13483"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/tags?post=13483"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n