Stepping into the world of gay kink for his first feature length outing, Harry Lighton delivers one of the finest directorial debuts of the year with a loose adaptation of Adam Mars-Jones’ Box Hill novel, renamed Pillion - a noun to describe the seat for a passenger behind a motorcyclist. Exploring the complex sexual relationship between a timid man (Harry Melling) swept off his feet by an enigmatic, handsome biker (Alexander Skarsgard), Pillion tackles power, need, submission and love in this unapologetically queer picture.
A fascinating and fearless portrayal of a subsection of homosexuality rarely explored in such raw, carnal fashion, Pillion proudly and confidently explores the sub-dom relationship dynamic, the complexity of their roles and the emotional implications of not only those involved but those who survey from outside. Lighton’s screenplay translates the material for the screen beautifully, providing an updated, modern setting that makes the material feel closer to home and less “othered” than its source material. Lighton contrasts the primarily queer culture with heteronormative expectations of love and happiness sharply, without ever punching down or indulging in unintentional vouyerism - in fact, so much of its power lies in its willingness to venture into situations unfamiliar to our protagonist yet presented in a clear-eyed manner, allowing for its themes of community and acceptance to come into focus.
Razor-sharp in achieving a tonal balance that would topple over in less assured hands, Pillion has director’s firm grasp of the material to thanks for mastering such self-assurance. Lighton’s open minded approach is refreshingly non-judgmental, empowering the story into thematic territory many would fear, while finding these beautifully, well-observed comedic flourishes throughout that make it a genuinely enjoyable feature too. In spite of our society's increasingly prudent view of sex and exhibition, that Pillion is unafraid to venture into the territory is a real credit to Lighton, who announces himself as one of the directors to watch, with this unique and liberating feature.
Harry Melling is superb as the timid and subservient Colin, depicting a wide-eyed willingness that preludes his journey into subservience. There is a very fine line to his character that could easily slip into victimising him, but it is the strength of Melling’s work and the material he works with that prevents it from doing such. In equal parts amusing and poignant, Melling’s work demonstrates an actor in total control of his character. Alexander Skarsgard delivers brooding, controlled work; his physicality is suitably striking and his comedic timing incredibly sharp, well-utilised while never diluting the brooding qualities central to the character. Both Melling and Skarsgard are unflinchingly fearless with their work, crafting such scintillating chemistry, and their partnership is absolutely critical to Pillion’s success
Pillion is not only one of the finest directorial debuts of the year, but certainly one of the year’s strongest overall. An intelligent, refreshing and surprisingly beautiful depiction of a culture rarely explored with this level of openmindedness, Pillion thrives thanks to Harry Lighton’s control of tone and its performers commitment to the material at hand. As it becomes increasingly more difficult for films to come along and subvert expectations, Pillion commits to its path and presents a genuinely thoughtful and provoking feature that deserves a position in LGBTQ+ film canon.