[REVISION HISTORY]

Gregg Araki film comeback – Sundance R‑rated run

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2026-08-24 15:34 UTC → 2026-08-26 07:23 UTC · added ~~removed~~

Gregg Araki’s long‑awaited feature *I Want Your Sex* opened in U.S. and French cinemas on 29 July 2024, portraying an erotic‑comedy BDSM relationship between pop‑artist Erika Tracy (Olivia Wilde) and her Gen‑Z assistant Elliot (Cooper Hoffman). The film blended comedy, thriller and eroticism, probing Gen Z’s ambivalence toward sex, housing insecurity and digital intimacy, and was noted for its absurd humor rather than the subversiveness of Araki’s earlier cult work. By mid‑2026, the movie remained a reference point in New Queer Cinema discussions. A re‑presentation at the Sundance Film Festival in July 2026 and a subsequent U.S. theatrical rollout revived debate on Generation Z’s “sex‑negativity,” power dynamics and consent, framed through a police‑interrogation structure with flashbacks exploring workplace hierarchies and the contemporary art world. Critics praised Wilde’s commanding performance, the vivid visual style and a playful homage to *Sunset Boulevard*. In late July 2026, the film launched a limited U.S. run in over 700 venues, positioned as an R‑rated counter‑program to the new *Spider‑Man* release. It earned a 91% Rotten Tomatoes score. The production employed intimacy coordinator Yehuda Duenyas, who used a pain‑scale system to choreograph BDSM scenes, marking the first union‑backed intimacy‑coordination role under SAG‑AFTRA. Recent coverage highlights that the narrative was shaped by statistics showing approximately 30% of Gen Z had not engaged in sexual activity in the previous year. The film features an ensemble including Charli XCX, Margaret Cho, and Johnny Knoxville. While most critics praised the satirical edge, some reviewers found the comedic approach to the subject matter occasionally repetitive. In August 2026, discussions surrounding the film intensified. Araki, marking his first feature in roughly twelve years since his work on *Now Apocalypse*, addressed the film’s themes of risk-aversion among younger generations.

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