A directionless man is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.
A pillion is “a motorcycle or bicycle saddle for a passenger,” as defined by the Merriam-Webster dictionary. The term also refers to the person riding in this position — someone without control, putting life and limb in another’s charge. In writer/director Harry Lighton’s film “Pillion,” the title becomes a metaphor for its lead character Colin (Harry Melling), a directionless young man willing to surrender himself in exchange for a human connection. For Colin, that connection comes in the form of mysterious and handsome biker Ray (Alexander Skarsgård), who quickly commands control.
Based on Adam Mars-Jones’ 2020 novel ‘Box Hill,’ Lighton’s film follows Colin as he enters into a BDSM relationship with Ray, who takes on the dominant role. While the novel is set in the biker community of the late 1970s, the movie relocates the story to the present day.
“Pillion” is an emotionally complex and frequently baffling movie. From the perspective of Colin, who is the subject of ongoing humiliation by Ray, the relationship feels less consensual and more like emotional manipulation. The film offers little explanation for his acceptance of this treatment beyond his profound loneliness and his desire to be wanted by anyone. This lack of clarity makes the relationship both confusing and frustrating. However, this seems to be the intent: to ask the viewer to commiserate with Colin as he seeks connection. “Pillion” is described as a romantic comedy, but it rarely offers warmth and comfort — attributes typically linked with the genre. Instead, it purposefully leans into uncomfortable feelings and emotional exhaustion.
Despite this unease, the film remains engrossing. Their relationship may be difficult to understand, but the dynamic between Colin and Ray is painfully human. Melling and Skarsgård are committed to their performances, capturing their characters very well. We might not be able to make sense of why Colin stays, but it makes sense why he follows Ray’s orders. That relationship malaise is given voice through Colin’s mother (Lesley Sharp). Her skepticism toward Ray mirrors the audience’s uneasiness.
This movie could have easily succumbed to an overly explicit depiction, drastically changing the story’s tone. There is some graphic content presented here (mostly kept at a clinical distance); however, many things are visually implied rather than outright shown. The sound effects, on the other hand, don’t shy away from anything. This feels like a measured constraint on Lighton’s part, keeping the film from becoming more exploitative than necessary. This is an already emotionally draining film; it doesn’t need additional shock value.
By the end, Colin does begin to blossom through his relationship with Ray, though I won’t go into detail about how that affects things. Ultimately, “Pillion” is a finely crafted work — especially in its pacing. I thought there would still be 20 or 30 minutes left when it ended, though it doesn’t feel like an abrupt cutoff in the story. Afterwards, “Pillion” left me feeling heavy and depressed, which seems to be entirely by design.
In Theaters Friday, February 20th
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