Pillion Review
Sometimes, when you go into a movie completely blind, one must ask themself: do I really know what I’m getting into? Usually, that question can go for an insanely wild action film, a really gory horror movie, or an extremely sexual romance movie. For A24, they’ve answered this several times with films like Babygirl, Talk to Me, and even Love Lies Bleeding. Of course, there’s certain levels to such movies that determine how far they can take their concepts before they become too unhinged for their own good. For Pillion, it confidently walks that fine line by using its showing to do the telling it needs to do.
Pillion follows Colin (Harry Melling), an introverted gay man who meets the mysterious Ray (Alexander Skarsgård) during one of his nightly performances. Although the two successfully hook up on Christmas day, Ray pushes Colin away only to restrict him into a BDSM bond where Colin does what Ray tells him. Despite this, Colin makes multiple moves towards Ray in hopes for a meaningful relationship, which leads the two into an emotional conflict for boundaries and hearts.
At a first glance, some viewers may think that Pillion might be too cheesy or too absurd to confidently execute its story. However, director Harry Lighton manages to not just pull from the most daring parts of Adam Mars-Jones’ original novel, but accentuate them to make those moments feel perfectly painful. From that first meeting between Ray and Colin that leads them to a shocking alley blowjob to him talking with other submissives about this system, Lighton takes regard in allowing those scenes to carefully linger.
Lighton shows Colin’s submissiveness and Ray’s dominance in a way that doesn’t necessarily show any preference to any side. Colin, although naive to believe he can get close with Ray, is initially okay with accepting his terms, even if the circumstances aren’t what they seem. He’s stuck sleeping on the floor, making both of their meals, getting the groceries, and much more. However, over time, Colin’s need to start becoming more reveals this deep desperation that he’s looking for something else and can’t stay complacent. It’s in those subtle mannerisms, which are perfectly shown in Melling’s performance, that influence you to make you sympathetic for Colin.
Yet, Pillion also has this way of also making audiences have some sense of empathy for Ray. Although he acts distant and cold towards Colin, both in text messages and when they’re together, Ray indirectly allows Colin to be a part of this messed up world. He accepts Colin for his trust in him and even allows some room for Colin to realize his own actions and why their relationship has to be like this. At one point, he asks Colin if he doesn’t like where their relationship is going and can end it at any time, albeit in a bit of a condescending way. However, it’s in that tone and that way of communicating his concern that almost makes you understand his perspective (which is very unlike his character in The Moment.)
Of course, Colin’s cancer-ridden mother Peggy (Lesley Sharp) doesn’t see their relationship as consensual, but rather manipulative. Even though Colin’s father Pete (Douglas Hodge) is okay with it despite not understanding the full picture, Peggy’s hesitation for letting her son go off with this unknown person is also substantial. She wants Colin to have a good life for himself while bearing the confidence to be his own person. This serves as a great reoccurring point in between the first two acts as it allows Colin to begin questioning his own role in the “great system.”
However, it’s when Peggy eventually succumbs to her cancer that truly shakes things up for Colin and Ray in the final act. In that final act, it’s a much more lighthearted experience from the somewhat bleak, yet grounded, reality that Colin is in for most of Pillion. Viewers will feel a bit surprised to see another side to Ray that tests both of their boundaries, but when Colin’s actions come full circle, it’s genuinely heartbreaking to watch. What comes at the end might have viewers asking that question I had, but in a way that’s been slightly fulfilled.
That said, Pillion already shakes things up on the sexual elements of the film, which may put certain viewers into an awkward position. From that alley blowjob in the opening, the cinematography behind these scenes, courtesy of Nick Morris, is purposefully uncomfortable as we’re meant to understand Colin’s subservient behavior. He enjoys every single sex position and way that he takes Ray’s you-know-what, whether that be in a loud training session or out in the woods with other submissives in Ray’s biker gang. Morris even captures Ray’s full shaft on-screen for a good few seconds before Colin takes it up, which goes to show how far Lighton is willing to take this film.
Pillion is a heart-wrenching and erotically effective story about understanding love that becomes something more than its explicitness thanks to Lighton’s intimate direction and Skarsgård and Melling’s deep performances. It feels like Pillion is those once-in-a-lifetime romance films that’s more complex than what’s on the surface and Lighton brings this narrative to life quite beautifully.
Pillion releases in theaters on February 6.
Rating: ★★★★
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Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.