Pillion Director Harry Lighton Discusses Depicting Authentic Sexuality and Reevaluating Queer Stories

      Harry Lighton’s film *Pillion* was a standout at last year’s Un Certain Regard at Cannes, receiving widespread praise and eliciting laughter for its candid depictions of sexuality. Marking Lighton’s feature directorial debut after the 2017 short *Wren Boys*, the film earned him the Best Screenplay award in its category.

      Based on Adam Mars-Jones' novel *Box Hill*, the story centers on a young gay man named Collin (played by Harry Melling), who enters into a dom/sub relationship with the enigmatic biker Ray (Alexander Skarsgård) while discovering his identity. Although romantic and alluring, what struck me most was the film's tender and sweet moments, portraying a subculture and community that remains relatively marginalized while not glossing over the often rocky journey of its young protagonist. Lighton’s strong visual style, along with standout performances from Melling and Skarsgård, allows viewers to interpret the contrasts between the exhilaration of motorcycle rides and the stark reality of sleeping on the floor.

      Having already premiered in the UK with three BAFTA nominations, A24 is releasing the film in the U.S. this Friday, with a broader release scheduled for February 20. I had a conversation with Lighton about his choices in adaptation, the challenges of depicting gay stories, and his approach to authentically representing the community at the core of the narrative.

      **The Film Stage:** To start, could you share how you discovered Adam Mars-Jones' novel *Box Hill*? You noted in the press materials that you initially considered placing the story in Ancient Rome or on a cruise ship. What drew you to those settings, and why did you ultimately return to the original story?

      **Harry Lighton:** A woman named Eva Yates, Head of Film at the BBC, sent me the novel. We were working together on another film set in the world of sumo wrestling in Japan, but when the pandemic hit, that project fell through. She suggested this book, saying I might enjoy it, and she was right; I found it captivating. The novel has a unique tonal blend that shifts from humor to introspection to emotional depth. I appreciate work that exhibits that kind of “tonal plasticity.”

      My writing process often involves exploration on a broad scale, allowing me to set wide boundaries before narrowing them down. The novel's setting is the 1970s biking scene in England, and I was initially exploring different contexts where power dynamics might be examined. I thought about Ancient Rome—it had its gladiator schools with clear homoerotic elements—though in hindsight, I don't believe it was a fitting idea for this particular dynamic.

      I envisioned this story in that context, but perhaps not the way it was intended.

      That might suit a more "adult" version of the story.

      The novel feels somewhat… not exactly pornographic, but like an underground fantasy from that time, complete with poker games and oral sex as a reward.

      Exactly. As for the cruise ships: I find their social structure fascinating, with varying hierarchies reflected through those above and below deck. There's plenty of opportunity for power dynamics in such an environment. I also liked the notion of situating a kink relationship within a seemingly "normal" atmosphere. A cruise ship is rich with communal activities—like numerous guests doing yoga together or sharing meals. The contrast of a nonconformist relationship unfolding there presents a compelling juxtaposition. We created something similar by setting the story in Bromley’s High Street and utilizing hidden cameras to highlight the “everydayness” of Colin and Ray’s connection.

      It's intriguing because, from my perspective, seeing individuals with lock necklaces or pup masks within my community isn't exactly "normal," yet it's not uncommon either.

      It's a matter of fact. The goal was to depict it in an unvarnished manner, showing these individuals “warts and all.” Often, the depiction of “doms” focuses solely on their toughness, but in these communities, there's also a sense of warmth and playfulness. I wanted to embrace that humor in scenes like the one where they celebrate a birthday party for him.

      It reminded me a bit of *The Duke of Burgundy*, where mundane activities like cleaning boots can convey intimacy.

      I adore that film. It's somewhat different from *Pillion*—more ironic and ethereal, dealing with varying themes and symbols—while *Pillion* is grounded in realism.

      Regarding the contemporary setting, was this mainly a budgetary consideration, or was it also to sidestep themes like period-specific homophobia and the AIDS crisis?

      It was primarily a budgetary concern, as setting the film in the ’70s would have posed constraints. However, it was also about the social context of homophobia in Britain. This context made Ray’s character less intriguing to me; in the '70s, his mystery could easily be attributed to being closeted and responding to societal prejudice. In a modern context,