‘Pillion’ review: Alexander Skarsgard and Harry Melling star in frank British debut

Dir/scr: Harry Lighton. UK. 2025. 106mins

The commuter city of Bromley, 10 miles from the centre of London, might not appear to be the obvious of locales for such a daring and uncompromising queer coming-of-age. But debut characteristic director Harry Lighton successfully makes use of the comfy familiarity of this suburban setting to forged this story of a submissive homosexual relationship into sharp reduction. He’s helped by robust, sympathetic performances from Harry Melling and Alexander Skarsgard, though Lighton’s personal mild but assured strategy is what drives Pillion ahead.

Authentically and sensitively explores a facet of homosexual tradition little seen in mainstream movie

Adapting the 2020 novella Field Hill by Adam Mars-Jones, Lighton (a Display Star Of Tomorrow in 2018) makes a daring step-up to options following shorts together with the Bafta-nominated Wren Boys (2017). The movie offered to a number of territories forward of its Un Sure Regard premiere, together with the US (A24) and the UK (Picturehouse), and the presence of Skarsgard will assist garner consideration – as, little question, will its specific intercourse. But open-minded audiences will quickly realise that Pillion shouldn’t be out to provocate, however to authentically and sensitively discover a facet of homosexual tradition little seen in mainstream movie.

Whereas the unique novel was set over six years from the late Nineteen Seventies into the Nineteen Eighties, Lighton’s screenplay condenses the motion right into a single 12 months within the current day. Right here, Colin (Melling) has no cultural want to cover his sexuality; certainly, his supportive mother and father Pete (Douglas Hodge) and Peggy (Lesley Sharp) eagerly set him up on blind dates with eligible males. But whereas Colin is out, he definitely isn’t proud; meek, quiet and unassuming, the one time we see him actually come alive is when he sings in his barbershop quartet.

It’s whereas performing in an area pub that he crosses paths with Ray (Skarsgard), a tall, good-looking biker who – in a subversion of the everyday meet-cute – wordlessly makes Colin depend out the cash wanted to pay for his pint. Reasonably than be offended, Colin is intrigued; significantly when he discovers Ray has left him a observe with the time and a spot for a rendezvous.

If the naive Colin – and his excited mother and father – predict a typical first date, that notion is disabused when Colin finds himself on his knees in a again alley licking Ray’s boots (and extra), on Christmas Day no much less. That first encounter leads swiftly to Colin taking up the function of Ray’s live-in submissive, anticipated to satisfy all of Ray’s home and sexual wants, and sleeping on the ground on the finish of Ray’s mattress. 

Regardless of this unconventional, shocking-to-some set-up, one of many nice achievements of Pillion is that it takes a totally matter-of-fact strategy because it follows Colin into this new chapter of his life, remaining non-judgmental whilst he consentingly subjugates himself to calls for others would discover demeaning. It doesn’t damage that the taciturn Ray is so charismatic, exuding a gorgeous confidence whilst he stays a resolutely closed e book. The tattoos of three ladies’s names on his chest and his full emotional unavailability provide the merest suggestion of a again story, however Skarsgard manages to deliver sufficient depth to the character to keep away from him changing into a mere cypher.

The emotional and dramatic weight lies nearly completely with Collin, and Melling makes a powerful influence in a task that’s far-off from his flip because the boorish Dudley Dursley in Harry Potter, digging into the vulnerability and loneliness which inspire Colin to search for happiness by unconventional means. Crucially, although, Colin isn’t solely pushed by insecurity; he finds real connection, each bodily and psychological, with Ray, and a real sense of belonging within the biker gang who warmly welcome him into the fold. (Most of the bikers are performed by members of the UK’s Homosexual Bikers Motorbike Membership (GMBCC), who Lighton frolicked with for analysis.)

Scenes during which Ray, Colin and the bikers indulge their dominant/submissive kinks pull no punches, however cinematographer Nick Morris movies these graphic encounters with the identical measured, observational, occassionally humorous tone as he does the extra on a regular basis sequences. Whereas the intercourse scenes might really feel heightened and excessive, the movie suggests that could be just because they fall exterior typical mores. We’re used to seeing sweaty, contorted, specific heteronormative intercourse on display; why ought to this be any totally different?

Crucially, Lighton, working with intimacy coordinator Robbie Taylor-Hunt, ensures these scenes by no means really feel exploitative; no imply feat given their inherent dominant/submissive nature. Whereas Ray could also be within the driving seat, there’s the sense that Colin can also be utilizing this dynamic to discover his personal boundaries, to drive himself out of his protected suburban stupor. His newly shaven head shouldn’t be the one sign of change. When mum Peggy raises an objection to the connection – her permissive assist solely going thus far – Colin pushes again, simply as he begins to push again towards Ray, discovering the energy to lastly get up for the issues he realises he actually wishes, and deserves.