A pillion refers to the passenger seat behind a motorcyclist, a fitting title for Harry Lighton’s debut feature that explores the dynamics of a dominant-submissive relationship in the biker scene. While there are scenes in “Pillion” that may make many in the audience uncomfortable with its explicit depiction of erotica, the film doesn’t shy away from this feeling; rather, it leans into it, diving headfirst into both the good and the bad of the LGBTQ+ BDSM community.
Our lead character is Colin (Harry Melling), a timid and meek young man who sings in a barbershop quartet and still lives at home with his overbearing parents. As fate has it, one day in a bar, Colin meets the gruff and incredibly attractive Ray (Alexander Skarsgård), who takes an immediate interest in Colin. The two eventually engage in a long-term BDSM dominant-submissive relationship. Colin moves into Ray’s house and follows Ray’s orders both domestically — from doing housework to making meals — and sexually. He assimilates into Ray’s way of life, joining him and his biker friends on trips and spending nearly all of his time at Ray’s house, much to his parents’ dismay. As their relationship progresses, Colin must learn how to draw the line between Ray’s demands and his own boundaries.
The heart and soul of “Pillion” are the two dynamic main characters. Colin and Ray begin as polar opposites, but over the course of the film, the two learn from each other. Ray is introduced as aloof and impossibly cool, dressed in leather and riding his motorcycle, while Colin is depicted as his polar opposite: awkward, timid and often embarrassing. However, through their development, the film reveals their depth. Ray views sex as impersonal and uses it to avoid true emotional intimacy. We witness his fear of vulnerability as his relationship with Colin deepens, and Ray weaponizes his authority over him to try to keep him at arm’s length. This mentality pits him against Colin, who believes that love is the purpose of everything and is unafraid of a deeper relationship, seeking out a real connection with Ray.
Colin’s parents are key to contextualizing this story by offering an outside perspective from someone unfamiliar with the BDSM community, representing the judgment that members face. In one particular scene, when Ray joins Colin’s family for dinner, this judgment is on full display as Colin’s mother is put off by the two’s dynamic. She yells at Ray, “I don’t like how you treat my son!” in an immensely awkward yet crucial scene, the first of many signals that lead to Colin reevaluating their relationship. At first, Colin believes that her judgment stems from a lack of understanding; however, he comes to realize that her concern has merit, and parts of their relationship are incredibly toxic and need to be addressed. In a pivotal moment of the film, Colin’s mother dies, forcing Colin to reflect on her concerns and realize that, as he puts it, he “could be happier.” It’s the needed catalyst for him to finally realize that his relationship with Ray needs new boundaries, as he finally prioritizes his own needs.
“Pillion” explores what happens when boundaries are not clearly defined and examines the line between the desire for exploitation and exploiting that desire. As the two’s relationship continues, it’s apparent that Colin begins to grow dissatisfied as he slowly loses pieces of himself. His change begins subtly, wearing his father’s leather jacket on his first meeting with Ray to him more drastically shaving his hair and changing his entire wardrobe. In another scene, Ray is playing the piano, and Colin begins to sing along, causing him to be scolded by Ray, effectively punished for his love of singing. In the end, Colin returns to BDSM, this time setting clear boundaries that he is unwilling to compromise. This reveals that although his relationship with Ray was less than perfect, he came out of it with a deeper understanding of himself and his needs.
This film is sparse in its dialogue and never falls back on cliches to keep it afloat. This is especially clear in the final kiss that the film has undoubtedly been building up to ever since Kevin (Jake Shears), another sub whom Colin meets, mentions that Ray never kisses anyone, further signaling Ray’s avoidance of true intimacy. When Colin and Ray revel in a “day off” from Colin’s responsibilities, they share a passionate kiss in the park.
However, it’s not the type of fairy-tale ending one may expect. The next day, Ray suddenly leaves town, possibly out of fear of intimacy or running from commitment. Colin looks for him, crying in the car as he realizes he’s lost Ray forever. The scene is tragic, yet the perfect ending for their relationship. It was clear from the beginning that they weren’t suited for each other, but that does not mean their relationship didn’t leave indelible marks on them both. Ray found the beauty in letting your guard down and being vulnerable with another. Meanwhile, Colin emerged with a newfound assertiveness and the confidence to set boundaries and advocate for himself, allowing him to remain in the BDSM community but in a healthier manner.
At its core, “Pillion” is a deeply human story about the rocky road to self-discovery, as Colin realizes that it’s okay for a pillion passenger to take the wheel. For many, “Pillion” will be their first introduction to the LGBTQ+ BDSM community, and Harry Lighton offers a realistic and vulnerable glimpse into the complicated road of self-discovery.
Daily Arts Writer Taylor Koski can be reached at tckoski@umich.edu.
