Pillion

Ray (Alexander Skarsgård) sees potential in Colin (Harry Melling) in Pillion (Distributed by A24)

Pillion is a story about love and identity. Not sexual identity. Though it centers on two gay men, they are completely comfortable with that part of themselves. They don’t need to look for acceptance because they already have it. The fact that they like men is who they are. It is not a topic of conversation at any point in the movie. No, this is the story of a young man, who just happens to be gay, learning that he is attracted to being a submissive to a powerful male. Serving a man fully, in all aspects. Being there for every need. This is him discovering what that means to him, how it fulfills him, what his own desires are, even as he pleases someone else in any way he is asked.

Pillion (101 minutes, without the end credits) is a strangely sweet S&M movie that doesn’t go for shock value. It is a quiet character study, explored much more through actions than words. It has funny moments, but doesn’t use their kinks or fetishes to get laughs. It handles this material respectfully, trying to understand what in this relationship gives them pleasure. It is an interesting story, well-written, with unflashy performances that fit the unexpectedly understated tone. The subject matter alone will make this decidedly not for mainstream audiences, not to mention that it has also been released unrated (for some male nudity and several implied sex acts). It is not a traditional romance, yet there is love here, portrayed in a way we don’t often see on the big screen.

Colin is a nice guy searching for love, who seems drawn to something different. While on a blind date with someone at a pub, he is approached by Ray, a strikingly good-looking biker with a dominant personality. Ray sees potential in the people-pleasing Colin, beginning a partnership that allows Colin to pursue the real him.

That is the fascinating element of this movie. There are chains, collars and other staples of submissive relationships, plus the aforementioned sex acts. Yet this isn’t breaking taboos or showing abuse. They are, in their way, a happy couple. We only see Ray from Colin’s perspective (he is described as a very discreet person), but he seems generally satisfied with the arrangement. Colin, on the other hand, seems to have found his calling. He enjoys being of use and cares about nothing besides devoting himself to Ray. Ray never reciprocating is fine; he displays his appreciation in ways that are meaningful to Colin and make sense as kind gestures exclusively in the context of their agreement.

While the performances by Harry Melling, as cheerfully meek Colin, and Alexander Skarsgård, as cool and controlling Ray, are solid, the strength here is in the writing. Writer/director Harry Lighton adapted the 2020 novel Box Hill, by Adam Mars-Jones. I was unfamiliar with the book before reading up on it a bit for this review. It sounds pretty similar. However, the source material is said to touch on social issues such as class and homophobia. The movie does not.

The closest it comes is in a tense scene where Colin’s mom expresses concerns with the way Ray treats her son. Colin welcomes that treatment because, to him, it is more powerful than tender love. Care comes in many forms. What Lighton shows, in a funny and insightful way, is that non-traditional love can be just as joyful for certain consenting couples, even if it seems strange from the outside.

3¾ out of 5

Cast:

Harry Melling as Colin

Alexander Skarsgård as Ray

Lesley Sharp as Peggy

Douglas Hodge as Pete

Written/Directed by Harry Lighton