There’s plenty of sex in the workplace and that’s comically surreal.
Gregg Araki has made a name for himself in the surreal independent world with his Teenage Apocalyptic trilogy (consisting of “Totally F***ed Up,” “The Doom Generation,” and “Nowhere”), “Mysterious Skin,” and “Kaboom,” among others. And in his first entry since “White Bird in a Blizzard,” I still was curious to see what he does with “I Want Your Sex,” and it’s clear he can do whatever he wants with it.
So let’s begin by ripping off the famous “Sunset Boulevard” intro with the pool scene, add aqua words on a magenta title card with only “Sex” being white, and have a vagina with ABC gum on it. And let’s have Olivia Wilde, one of the most photogenic actresses ever, playing a dominatrix of sorts. If Sam Raimi can use Rachel McAdams in “Send Help,” then wait until you see how Araki guides Wilde in “I Want Your Sex.”
Cooper Hoffman plays Elliot, a young college grad, who lands a job at a sex art studio run by the sexy Erika (Wilde). It would be problematic that he would look at her in a passionate way at the workplace, despite having a workaholic girlfriend (Charli XCX). Although I think we can agree that they’re incompatible with each other. A week after his employment, Erika finds out about the way he looks at her and warns him not to do that again. But do you honestly believe she’s being harassed? I think if Nicole Kidman can get it on with Harris Dickinson in “Babygirl,” then she can have her way with Elliot. The kind where she’s the dominatrix and he’s her little muse.
The supporting cast also includes Chase Sui Wonders as Elliot’s roommate whose hair feels like “a tarantula coming out of her head,” as she would suggest; Johnny Knoxville and Margaret Cho as two detectives interviewing the main protagonist about his older lover, Daveed Diggs doing his own take of the Stanley Tucci character in “The Devil Wears Prada” as Erika’s personal assistant; and Mason Gooding as Elliot’s gay co-worker being in the center of things. Wonders brings on the attitude, while Diggs brings on the style, and they’re both fun supporting characters.
You have to admire the color palettes of the art studio, a mini golf course, and the drinks that the characters have. There’s also an animated sun that tells Elliot: “You got this, man,” and another scene with Charli XCX’s animated breasts popping out. I’m pretty sure I praised the colors and twisted world that Boots Riley presented in “Boosters” a few months ago. And it’s disenchanting that it bombed at the box office. But both “Boosters” and “I Want Your Sex” are films I probably won’t see again, and I’m glad I got the opportunity to do so.
I’d be lying if I understood everything that “I Want Your Sex” throws at us, but I’m telling you the truth when I say that Wilde is delicious and wickedly delightful, while Hoffman continues to broaden his horizons as a young actor. It’s an interesting combination of carnality and chemistry. There are times when he gets turned on by her, and other times when he starts to think that her behaviors are over the top. I think if he was talking to me right now, he would probably tell me: “That’s putting it mildly.”
Araki co-wrote the script with Karley Sciortino, who is also the founder of the website Slutever, which focuses on sex and sexuality. And they both collaborated on a show called “Now Apocalypse.” So, I think we can agree that he can use his tastes in filmmaking and her views on sex, and both of them can craft a film like “I Want Your Sex.” And they both sure know how to use Wilde and Hoffman, and to distinguish between love and sex.
