CANNES – Let me be the first, perhaps second, possibly third critic to refer to Harry Lighton’s directorial debut, “Pillion,” as the gay flip side of “Babygirl.” Subject matter aside, it’s a movie with somewhat higher aspirations than its A24 stablemate. It’s a beast of sexual power dynamics and unrequited intimacy all on its own. And it may make even the most liberal viewer uncomfortable in the best way possible. At least that’s what we assume writer and director Harry Lighton is going for.
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Adapted from the novel “Box Hill” by Adam Mars-Jones, “Pillion” differentiates itself from Halina Reijn’s aforementioned drama in a slew of ways. Foremost, the control of our protagonist, Colin (Harry Melling), is far less important than his unexpected journey into finding his tribe within a tribe. There’s no backstabbing here, although may a few slaps or two across a buttcheek. Moreover, there is no doubt that a long list of actors could have played the role of Colin, a timid parking enforcement officer who still lives at home with his parents, but few have the eyes to convey an internal monologue like Melling can. Some might say it’s a gift.
When he’s first introduced, the gut instinct is to identify Colin as a loser. That’s a bit cruel. Sure, he is part of a barbershop quartet with his father and brother, but he can sing. It’s not like he doesn’t have talent. It’s his social skills that need work. When he spots the hunky biker Ray (Alexander Skarsgard) at the local pub after a holiday performance it’s as though an unattainable dream is finally close enough to touch. Unattainable until Ray meets him at the bar and gives him his number.
Colin soon learns Ray is not looking for what you would consider a socially conventional companion. After requesting a first “date” on Christmas Day, Colin discovers Ray really is the leather dominant of his gay porn dreams (or at least a random online search). Their short meeting ends in an alley near the pub where they first met, and, well, let your imagination do the rest. That first However, thatunter lights a fire in Colin, however, Ray instructs him to meet him at his apartment, he’s all in. Of course, he doesn’t realize he’ll immediately be tasked with making him dinner. Or sleeping on the floor. But Colin barely flinches as the events and instructions unfurl (who knew shopping lists were a key ingredient to some of these relationships?).
As their coupling continues, Colin completely transforms himself at Ray’s behest. It’s one thing to shave his long locks and change his everyday wardrobe more to reflect the biking community, but he proudly wears a collar that Ray has given him. And pressing Ray to join him in a dinner with his parents (Lesley Sharp, Douglas Hodge)? A dramatic change from the Colin who first popped up on screen.
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To state the obvious, this sort of relationship is not for everyone. There is humor in Ray and Colin’s bonding (deep down, the former isn’t as cold-hearted as he wants to be), but the sexual escapades make anything depicted in the “Fifty Shades” series, for example, seem as saccharine as a daytime soap opera. But there is much to relate to. When Colin discovers that another sub in Ray’s biker crew (Jake Shears of Scissor Sisters fame) is allowed to kiss his master, something Ray prohibits, it sparks an envious fire within him.
Welling may be jaw-dropping good as Colin, but Skarsgard is no slouch as Ray, especially when the dom’s highly protected walls begin to wobble. Despite seemingly outward public confidence in his lifestyle choice, it becomes quite clearRay is the person in the relationship who has thewitho hide. Ray has demons, or at least secrets that he doesn’t want to let anyone know of. For a film that is as realistic as possible, considering the scenario, this is also where Lighton’s suspension of disbelief somewhat falters.
There is a crucial moment in the film’s third act that would make much more sense in the mid-70s era, the original novel was set in, than today. Perhaps those are minor quibbles in the context of Lighton’s larger canvas. Perhaps they are not.
What this collection of bold artists has pulled off is a fascinating portrait of one man coming to terms with his own identity in a genuinely original way. What makes him happy? What makes him content? If the sexual situations make you personally uncomfortable, that’s understandable. It’s also unfortunate because you don’t find transformative stories like this in any medium very often. At least one you believe in. [B+/B]
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