I Want Your Sex Review: Gregg Araki’s Call for the Younger Generation to Relax and Be More Open About Sexuality

      Note: This review was initially published as part of our 2026 Sundance coverage. The film will be released on July 31.

      Throughout Park City and beyond, the central question has been whether I Want Your Sex signifies a “return to form” for Gregg Araki, as described by programming director Kim Yutani in her introduction to the film last night. The answer is not exactly. A comical, sexually charged escapade with entertaining moments, this marks Araki's first feature in 12 years, often resembling a lecture from an openly liberated queer man to the reportedly asexual younger generation. While Araki may have a point, its delivery feels too overt.

      The film is structured around Elliot (Cooper Hoffman) recounting the events of a whirlwind romance with his boss, the fiery artist Erika Tracy (Olivia Wilde), leading to the moment when he finds her face-down in a pool (a clear reference to Sunset Boulevard, of course). Two detectives (Margaret Cho and Johnny Knoxville) listen skeptically to Elliot’s account. If Araki, now an older provocateur, fluctuates between Elliot’s innocence and Tracy’s bold, fake-it-till-you-make-it bravado, these detectives reflect the audience’s viewpoint, quickly highlighting the evident power dynamics within this forbidden workplace romance, invoking terms like “grooming” when necessary—a claim Elliot swiftly dismisses. To him, he desired this relationship as much as she did, and his tone conveys a genuine affection for the tale he tells, despite how it wrecks his life in nearly every way imaginable.

      I Want Your Sex presents Araki, at 66 years old, telling the younger generation that, while life experiences can be painful and chaotic—and the urge to retreat might urge them to stay home and avoid risks—the pain of being old and reflecting on lost chances is far greater. In more Araki-style language: you live once, so stop consuming so much porn and go out there and connect with (i.e. hook up with) others. Tracy delivers numerous mini-speeches to this effect, ranging from entertaining to overly preachy. Elliot sometimes contests Tracy’s condescending attitude, at one point listing reasons why his generation isn’t engaging in sex. However, similar to Tracy’s monologues, this retort comes off as unnatural, as if lifted from a think piece in the Atlantic or New York Times.

      Aspects of Luca Guadagnino’s After the Hunt can be seen in Sex’s boomer viewpoint on woke culture, but a closer comparison might actually be Brian Jordan Alvarez’s FX series The English Teacher. That series explores the dynamics between a classically liberal gay Millennial and a younger generation that shows less respect for the traditional institutions and politics he was taught to honor. The latter presents a more astute portrayal of the generational divide, while I Want Your Sex lacks sufficient depth in its examination of the younger generation.

      The film showcases bright, vibrant sets, every wall appearing freshly painted just before filming. This hyper-digital artifice is deliberate, yet it somewhat hinders emotional investment in the core relationship between Elliot and Tracy. Although Wilde’s performance is a joy to watch, with the script giving her ample engaging lines, the character feels too distanced from reality, a mere caricature of an art-world feminist seeking the privileges her male peers have enjoyed for years (mainly exploiting interns). Hoffman’s strengths shine through his boyish charm. He represents the antithesis of Marty Mauser in Marty Supreme. While Marty skillfully employs his charm to manipulate, Elliot’s aimless demeanor often allows him to land on his feet with little effort. However, Hoffman struggles in dramatic moments, with the script not providing much assistance. His frequent line, a variation of “Are you fucking insane?” directed at Tracy, describes her often absurd behavior.

      I Want Your Sex may not be the comeback for Araki that has been touted, but it does have its bright moments. Given that this Sundance marks its final year in Park City and is the first since the passing of founder Robert Redford, it seems fitting to also honor indie legend Araki, who has had an impressive eleven films premiere at the festival since its early-90s peak.

      I Want Your Sex had its premiere at the 2026 Sundance Film Festival.