written by: Harry Lighton
produced by: Emma Norton, Lee Groombridge, Ed Guiney, and Andrew Lowe
directed by: Harry Lighton
rated: not rated
runtime: 107 min.
U.S. release date: February 27, 2026

Based on the 2020 book “Box Hill,” in which author Adam Mars-Jones explores the loneliness of a gay man unable to find connection in the world, “Pillion” eventually finds relief from a most unusual person and his particular demands for attention. While the story has apparently changed on the road to a film adaptation, writer/director Harry Lighton has nevertheless kept the story’s core the same: the strong feelings between two men as they attempt to work out a dominant/submissive relationship. What stands out the most is how Lighton displays such filmmaking confidence and storytelling efficiency for his feature-length directorial debut. It’s a tall task considering there are some dark emotional spaces to explore along the way, but the film winds up displaying a delightful amount of warmth as we watch an unusual romantic development occur, one that explores wants, desire, and, of course, a good amount of kink.

Colin (Harry Melling) is a timid young man in Bromley, London, looking for love with support from his father, Pete (Douglas Hodge), and his mother, Peggy (Lesley Sharp), who is dealing with cancer. He and his father sing in a barbershop quartet that performs in local pubs, but you can tell Colin is having a hard time being who he truly is. Although he’s made attempts, he’s been unlucky with dates, and he’s starting to lose hope. That is, until one evening when he is slipped a note by tall and handsome Ray (Alexander Skarsgård), a member of a local biker gang. Colin is immediately transfixed by his older suitor’s good looks, confidence, and mysterious presence.

Their first date is on Christmas Day evening, which is a little surprising to Colin’s parents, but they’re really just happy he’s getting out and meeting someone. The pair wind up hooking up in an alley off a high street, and Colin nervously, albeit eagerly, submits to getting on his knees for Ray. The awkward moment includes some mild laughs, like when Ray points out his boot needs licking, which reveals how grossed out Colin is by dirty footwear. The evening is over rather quickly, and when Colin asks Ray when they will see each other next, Ray bluntly tells Colin he isn’t around much.

After several of Colin’s texts go unanswered by the enigmatic Ray, they eventually meet up at Ray’s home. Upon arrival, Colin is immediately called on to serve Ray, receiving lessons in discipline that he initially struggles to handle. Excited by the encounter, Colin hopes for more and is soon asked to submit himself in full to Ray, who maintains order in his life, unwilling to allow anyone to get close as he wields his power. The two eventually embark on an unusual relationship, introducing Colin to a life of submission and service, also joining a community of sorts as Ray takes command of him, exploring his boundaries. The mystery of their relationship finds Colin’s mother understandably concerned for her son’s well-being. As time passes, Colin embraces his role, but ultimately craves more from Ray, who is unwilling (and perhaps unable) to get intimate with anyone, especially as real feelings between the men start to form.

“Pillion” is essentially Colin’s journey of self-discovery, and Leighton does the character a great service by writing him as an introvert rather than a tragic figure. It’s refreshing to see that he not only has supportive parents but also has a good relationship with them. You get the idea that he’s mainly living with them because his mother is dying. Outside of his love for singing, he has a terrible job enforcing parking meters, which essentially means he’s harassed every day. Leighton films scenes of the two of them riding on Ray’s motorcycle, as if Colin is escaping the routine of his daily life. He cradles Ray, holding on to this hunky, experienced guy, like he’s a portal to a different world. These scenes are among the many moments in which we see Leighton’s confidence, collaborating with cinematographer Nick Morris to create something quite beautiful to experience.

As his dom/sub relationship accelerates toward cohabitation, Colin loses himself to Ray’s demands, leading to significant changes in daily life and appearance. Ray leans into Colin’s “aptitude for devotion” by making him sleep at the foot of his bed, giving him a daily list of chores, and engaging in wrestling matches in his apartment that end in sex. Ray also measures him for a collar (a chain with a padlock), and Colin winds up shaving his curly locks to better align with the biker community he becomes immersed in. The pair is definitely hard to miss when they go out in public.

The most fascinating part of their relationship comes when Colin gradually realizes he has his own hold over Ray, which finds the character coming full circle in his self-discovery journey. Despite Ray’s physical strength and rigidity,  there’s a sense that Colin is starting to crack the exterior walls the dominator has built. Ray is aware of how he comes across, and he’s also very observant. Skarsgård carefully develops the character, acknowledging and perhaps admiring that Colin has his own voice and has found the courage to express it, because he wants to explore where their relationship can go. We never learn much about Ray’s past, but Skarsgård conveys a hesitancy that indicates he’s aware of definitive boundaries in his relationships.

Melling is absolutely wonderful as Colin, carefully showing the character’s gradual changes. He conveys genuine sincerity, making it easy to wholeheartedly root for Colin and wish him success on his journey. Both he and Skarsgård really lean into just how undeniably different Colin and Ray are, making their BDSM union both awkward and electrifying. Throughout the film, Lighton maintains a solid grasp of the chosen tone of “Pillion,” preferring softness in handling the sometimes-hostile relationship between Colin and Ray. The ups and downs of their unusual relationship are a highlight of the film, and the ending Leighton arrives at is close to miraculous, finding a fitting send-off for these characters.

RATING: ****