Pillion

There’s a big difference between celebrating an alternative lifestyle and giving license to an abusive relationship, but, sadly, the debut feature from writer-director Harry Lighton doesn’t seem to know the difference. This sexually explicit “romance” (a term I use with measured reservation) follows the experience of Colin (Harry Melling), a shy gay adult who still lives with his parents and has trouble getting dates, after he meets Ray (Alexander Skarsgård), an enigmatic, uber-masculine biker/leatherman with a chiseled physique who looks like he’s just stepped out of the hottest gay porno imaginable. But their relationship comes with many strings: specifically, Ray is a “dom” who rigidly dictates every aspect of the life of his new “sub.” Now, there’s nothing inherently wrong with dynamics like this in a gay male relationship (or any other type of relationship, for that matter), as we all have our own particular proclivities. However, when relations between partners cross certain lines, matters can become decidedly and disturbingly questionable. Ray treats Colin like his slave (again, not an unheard-of dynamic in relationships like this), but, as circumstances turn emotionally and then physically abusive, that’s when this partnership takes a troubling turn in the wrong direction. And what’s most distressing about this film is that it tacitly conveys the impression that such behavior is perfectly acceptable in dominant/submissive relationships, that it simply (and unapologetically) comes with the territory. However, as a member of the LGBTQ+ community myself, this stance takes things a step too far for me, even if Colin is willing to go along with such potentially damaging and humiliating treatment. Such behavior would never be condoned in other relationships, so why should it be considered acceptable here (especially since the film seems to regard it as “normal,” even celebrated)? This sends the wrong message in my opinion, especially since so many individuals in the LGBTQ+ community already have issues with low self-esteem stemming from repeated ridicule and demeaning abuse from others (often just by virtue of being gay), let alone at the hands of someone from our own “family.” The attitude taken here is thus tantamount to pouring gasoline onto an already-raging fire, and I find that wholly inappropriate, not to mention self-defeating in a community where bolstering our self-worth should be a priority. The effect of this, regrettably, is the reinforcement and perpetuation of negative gay stereotypes coming at a time when the community is already under heightened scrutiny and undue criticism, an outcome that’s being fostered here by those who can least afford to see such treatment championed (even if allegedly unwittingly). While there is admittedly some merit to the story’s message about the value of self-acceptance (i.e., Colin’s willingness to be himself in recognizing and accepting his avowed preference for being a submissive), there’s a difference between that and encouraging someone to embrace anything that might go along with it, including allowing oneself to be freely and willingly subjected to acts of abuse. Despite these glaring faults, the film has somehow managed to secure its fair share of advocates, as evidenced, for example, by its three BAFTA Award nominations and five Cannes Film Festival nods (including two wins). Nevertheless, “Pillion,” in my view, carries these notions to an extreme and sends the wrong message, particularly toward those who might be too naïve, inexperienced or impressionable to realize what they could be getting themselves into until it’s too late. To me, that’s just plain wrong, and it’s prompted my extreme dislike of this release, despite what some of my LGBTQ+ community peers might believe. Indeed, harmless role playing and free-wheeling kinkiness are one thing, but hurtful, damaging, psychologically manipulative abuse is something else entirely. And, unfortunately, this film doesn’t make enough of a distinction between the two.

claristo

4/10

6/1/2026

I respect what this was trying to be but it took a very negative turn as it becomes more clear throughout the movie how under-negotiated and communicated their relationship is, which just ends in an absolute disaster. I made it about 3/4 of the way through the movie in hopes it would resolve and then just googled the ending because it wasn't improving and I was kinda icked out. negotiate kinks and be clear on what you're getting into people!!

Martin Oaks

6/10

8/5/2026

**The subversion of the romantic melodrama** "Pillion" is the feature debut of British director Harry Lighton, a rather dark comedy-drama that offers a modern adaptation of Adam Mars-Jones's acclaimed novel "Box Hill". Sidestepping the easy tropes of conventional romance, the film delves into the power dynamics and submission within a rarely depicted subculture. Colin (played by the wonderfully eccentric Harry Melling) is an introverted, somewhat stagnant young man working as a valet parking attendant in a London suburb. He lives with his parents and sings in a barbershop quartet. His monotonous routine changes drastically upon meeting Ray (Alexander Skarsgård), the imposing, aloof, and deeply attractive leader of a local gay biker club.Before long, Colin is utterly absorbed into Ray’s world, embarking on a sadomasochistic relationship rooted in a strict master and submissive dynamic. As Colin integrates himself into this leather-clad biker community, what begins as a blind surrender of his own will transforms into an unexpected, bumpy journey of maturity and self-discovery. Harry Lighton delivers a balancing act that is only half-successful, yet possesses an undeniable charm. Translating the sordid, 1970s atmosphere of the original novel into the modern day was a monumental challenge. Lighton chooses to "lighten" the material, reshaping it into what many critics have labeled a "dom-com"—a romantic comedy of domination. The approach feels fresh and eschews moralistic sermonizing, exploring fetishistic practices entirely without judgment.