Everybody Wants to F*ck Me examines the life and love(s) of Taron Egerton’s Adam, a man who would be labelled the millennial professional performative male. He’s a good-looking man, but the problem is that he is a bit of a player. He tends to love-bomb and overexpress desire, only for the relationship to be cut off by him. This leaves the women in his wake jaded, ghosted, and upset over their experiences, and it tends to happen after he has slept with them.
One day, Adam may have met his match in Sofia, who calls out his behaviour as a different form of the aggression and predatory behaviour that men have historically directed toward women. To Sofia, and I am sure most of the audience, Adam represents a new form of the man who uses women for his own needs and pays little attention to their mental or emotional state.
The film is a send-up of the “nice guy” and the kind of man who uses women’s pursuits and social interests to win them over. The main plot turn, where women become drawn to him like moths to a flame, is often tense and funny. There is a lot of humour and irony found in how women begin to treat Adam the way men have historically viewed women: as an object to gaze at and use to their advantage. For Adam, at first, this seems like a good thing.
But soon, the women want more specific attention and affection, and to use his body as they want in ways that aren’t exactly pleasurable for Adam. With this concept, the film is able to build effectively, constantly changing Adam’s dynamic with the women around him, his colleagues, his best friend, and even his family.
It’s a strong screenplay that is accompanied by some great classical music choices and a score that works well with it. It dares to deliver an open but bolder ending, leaving us with a clear question after the roller coaster of what is often a very funny and biting satire.
Everyone Wants to F*** Me is playing at TIFF ’26. For more information, click here.
