Everybody Wants to F*ck Me‘s logline is that it’s about 21st century dating, but it’s a subset of that. That subset is hipster London millennial dating, where it’s less GTL and peacocking and more of a subtle performance. That performance comes from Adam Samuels (Taron Egerton), a ‘sensitive’ gallery associate with a MUBI tote bag. He ensnares women in clubs with hot takes about Linklater movies, but he eventually meets his match in Sofia (Jessica Henwick). Sofia, instead of sleepig with Adam, drugs him, drastically changes the way females, human or otherwise, behave around him. His dog starts acting strange, he gets rashes, and females, human or otherwise, will run to him for increasingly carnivorous sex.

Gymbros are the archetype that men think women like, soft bois like Adam provide a seemingly palatable alternative. The two mainstream genders, though, can smell that stunt and have been calling it out since the 2010s. The movie’s first act captures, through closeups, the performances of men as well as their female counterparts. As the movie progresses, it tells, through dialogue, the difference between when a man performs and when women do. After Adam’s drugging, the second act seems like Adam dropping into a world with one subtle change after another. The dog acting strange in Everybody Wants to F*ck Me is a sign that’s alarmingly worrisome AND hilarious. Everybody Wants to F*ck Me comes from director Jonathan Schey, already getting comparisons to this year’s gender horror, Obsession, comparisons that it deserves.