Director Gregg Araki returns after a 12-year hiatus with “I Want Your Sex,” a provocative indie film that explores complex sexual dynamics through a gender-reversed lens on workplace relationships. Co-written by Araki and Karley Sciortino, the film unfolds as a pop-noir satire set within the contemporary art world, melding elements of romantic comedy, thriller, and farce.

The story centers on Elliot, a young, naive assistant played by Cooper Hoffman, who becomes entangled in an unconventional workplace affair with his boss, Erika Tracy, portrayed by Olivia Wilde. Erika is an “outré neo-pop artist” whose dominant and manipulative behavior toward Elliot drives the film’s exploration of power, exploitation, and liberation within intimate relationships. The film deliberately flips typical gender roles often depicted in narratives about workplace harassment, inviting viewers to consider these dynamics from a different perspective. Both characters exhibit flaws—Erika’s controlling tendencies and Elliot’s sometimes unquestioning submission—highlighting a complicated and morally ambiguous connection.

Stylistically, the film features a candy-colored palette and a narrative structure reminiscent of classic noir, including flashbacks and an unreliable narrator. The plot is punctuated by comedic elements, notably scenes in which Elliot recounts his story to police detectives played by Margaret Cho and Johnny Knoxville, blending suspense with humor. Despite its provocative title and subject matter, “I Want Your Sex” is less an erotic thriller and more an irreverent, self-aware rom-com that challenges Gen Z’s cautious approach to intimacy. Erika’s message to younger generations is clear: embrace sexual exploration with openness and curiosity, even if it is awkward or fraught with risk.

Critical perspectives on the film emphasize different aspects. Some see Erika as a predatory figure deriving pleasure from exerting power over Elliot, who remains emotionally captivated despite the imbalance. Others point to the film’s portrayal of artificial and performative sexuality, underscoring tensions between genuine eroticism and staged encounters. The performances have drawn praise, especially Wilde’s commanding and multifaceted portrayal of Erika, and Hoffman’s earnest portrayal of Elliot, capturing the vulnerability and confusion of youth in contemporary society. Hoffman’s performance also evokes comparisons to his late father, Philip Seymour Hoffman, in its depth and risk-taking.

Beyond the personal dynamics, the film offers commentary on the precariousness of the modern art world and economic survival, particularly for young people. Erika openly admits her art is often vapid and exploitative, yet she strives for artistic brilliance, exposing the cracks in the system where creativity is both commodified and marginalized. Through this lens, “I Want Your Sex” also questions distinctions between art and pornography, suggesting that context and intent shape perception.

While the film’s pacing accelerates toward a swift and somewhat conventional resolution, it ultimately refrains from condemning its protagonists. Instead, it proposes that personal growth often emerges from messy, imperfect experiences. Araki’s return reaffirms his interest in exploring human sexuality and identity, urging new generations to engage openly with their desires and fears, accepting complexity rather than avoiding it. Rated R for strong sexual content and language, the film is currently playing in theaters.