[7]
An aimless young Brit (Harry Potter‘s Harry Melling) enters into a fetishistic dominant/submissive relationship with a mysterious, handsome biker (Alexander Skarsgard). Melling cooks all Skarsgard’s meals, does whatever he’s told (and I mean whatever), and sleeps on a rug at the foot of Skarsgard’s bed. For a while, Melling’s character enjoys the attention and his status within an unusual subculture. But when he insists on having ‘a day off’ from their rigid role play, both men discover they have limits and their relationship is never the same.
Pillion, named for the back seat on a motorcycle, delivers its fair share of sensationalized sexual content. Melling essentially plays Skarsgard’s willing sex slave. The version of the film I saw (because I believe there is a more explicit cut) never goes full-frontal, but it’s so suggestive that it leaves little to the imagination. A camping getaway with other dom/subs is especially revealing. The subject matter may be somewhat disturbing to many viewers unfamiliar with dominance/submission role play, but it’s important to remember these are consenting adult characters.
Co-writer/director Harry Lighton makes a confident feature directorial debut, fitting the film’s unusual central relationship into a familiar rom-com formula. Pillion is at turns darkly comedic, sexy, and — in moments — startlingly sweet. The sex becomes almost mundane and the character psychology becomes the focus of the final act. I’ve always thought dom/sub role play has its place in the world, fulfilling psychological needs and fantasy escape for those who participate in it. But I’ve been much more skeptical of anyone who might adopt it as a permanent lifestyle. Pillion worried me for its first half, as I didn’t want to see Melling’s character taken advantage of. I was relieved that the character eventually reaches a breaking point, realizing that being a ‘submissive’ isn’t going to work for him — at least not full-time. More provocatively, the film also pushes Skarsgard’s character to quiet realizations. Just as Melling’s character gains confidence and determination, Skarsgard’s formerly strong and stoic character loses his, becoming the more pitiable of the two characters.
Pillion isn’t judgmental of dom/sub relationships, yet still manages to address concerns about them. It’s an uncomfortable film at times, but ultimately a responsible one. Lighton’s direction and the two lead performances are strong and the script is refreshingly sophisticated. As someone who grew up in the ’80s when gay relationships of any kind were forbidden in commercial cinema, it’s very interesting to see how much things have changed in forty years. In the ’80s, the parents of Melling’s character (Lesley Sharp and Douglas Hodge) would have been shocked to learn their son is gay. But in 2025, they just want to make sure that his new lover is treating him right. My, how times have changed.