Film Review – Pillion (2025)

      Pillion, 2025.

      Written and Directed by Harry Lighton.

      Featuring Harry Melling, Alexander Skarsgård, Lesley Sharp, Douglas Hodge, Jake Shears, Mat Hill, Nick Figgis, Zoe Engerer, Jake Sharp, Jacob Carter, and Rosie Sheehy.

      SYNOPSIS:

      A man lacking direction finds himself captivated when a mysterious and strikingly handsome biker takes him on as his submissive. In Harry Lighton's adaptation of Adam Mars-Jones' novel "Box Hill," the timid gay loner Colin, played by Harry Melling, already faces daily verbal abuse from the public for issuing parking tickets. So, when the dominant biker Ray, portrayed by Alexander Skarsgård, unexpectedly shows interest in him and silently asserts his dominance in an alley, urging Colin to engage in oral sex and soon requesting him to be his full-time submissive, Colin readily complies. He finds no comparison between Ray and the dull companions his parents (Douglas Hodge and Lesley Sharp) keep trying to set him up with.

      To an outsider, this dynamic may not appear to have much respect, and viewers may worry that Colin, being so inexperienced in this realm, could get hurt physically, emotionally, or mentally. The pair doesn’t take the time to establish a safe word, although Ray takes initiative to stop if Colin seems to be in too much pain during their BDSM encounters and is hesitant to speak up. Ultimately, being a servant to Alexander Skarsgård likely beats the monotony of Colin’s everyday life—a sentiment that many can relate to.

      Nonetheless, and bear with me, there exists a certain tenderness within this dynamic. Colin’s activities mostly revolve around fulfilling Ray's requests, like shopping, cooking, and sleeping on the floor when they aren't engaged sexually or playfully wrestling in revealing outfits, which soon turns intimate. Wrestling carries an inherent homoerotic undertone, adding an appealing visual element to the film. Ray, however, is not portrayed as a creepy figure or a man with sinister intentions; instead, he comes across as similarly lonely and unable to express himself, except within the context of the BDSM biker scene that he gradually introduces Colin to.

      Ray is aware that their relationship isn't based on love and reassures Colin of this fact. Nevertheless, there’s an underlying sense that Ray is troubled in some way, and despite his genuine affection for Colin—highlighted in the way he encourages Colin to lie on his back during sex so they can gaze at one another—he struggles to display romantic feelings or aspects of himself unrelated to kink.

      Colin, being as obedient as possible without questioning or doubting any requests made of him, observes that other dom/sub pairs—often identifiable by chain collars with locks—tend to show more affection towards each other, with their BDSM dynamics not always in play. This observation leads to his frustration, especially since his ill mother disapproves of his submissive role to Ray, including his shaved head and clothing choices as dictated by Ray.

      Despite the eroticism of certain scenes (particularly the intimate ones and Harry Melling’s expression of joy during moments of pleasure), Colin’s mother raises a valid concern about losing his identity or delaying his self-discovery by being in a relationship that has relegated him to servitude, lacking personal enjoyment. There comes a pivotal moment when Ray asks Colin how he would like to spend the day (without bikes or BDSM), but Colin struggles to come up with any ideas.

      Ultimately, establishing a balance is essential, becoming part of Colin’s journey as he seeks to discover what else brings him fulfillment (having already left a barbershop quartet despite his natural talent for singing to commit fully to his obligations to Ray). One can speculate that director Harry Lighton has insight into this world, possibly having immersed himself in it while working on Pillion, as he incorporates real-life kink bikers into the supporting cast, adding authenticity to the portrayal. The performances by Harry Melling and Alexander Skarsgård excel in conveying emotions through body language and facial expressions, articulating thoughts that might be too daunting to verbalize.

      There are certain narrative shortcomings: much about Ray remains unexplored, complicating a hurried third act that might have yielded greater emotional depth had there been time to delve into each character’s decisions and their consequences. However, this isn’t too significant, as Harry Lighton is clear about the message he wishes to convey regarding the setting, the characters, and the themes at play. Surprisingly, Pillion also possesses a humorous aspect within this kink scene without coming off as condescending. Alexander Skarsgård even dubbed it a "dom-com"; while fitting, it also captures tenderness, heat, and a meaningful exploration of the importance of maintaining a sense of individuality within these dynamics.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder