Oftentimes, when watching him on screen, it is more about analyzing him than just observing. While Ray feels like a character study, there isn’t much to take away as a viewer regarding his character, due to his modest acts, unless one has known someone who mirrors his traits through lived experience. The progression of Skarsgard’s Ray is continuous until the last 25 minutes of the film, which is even more questionable, given that it leads to a momentous yet heartbreaking ending. 

Though a directorial debut, Harry Lighton’s eye for storytelling is harsh but moving, with truths about humanistic experiences that plague marginalized individuals. The honesty of Lighton’s storytelling is not only relatable in the film but also something a gay male may have come close to experiencing, as Pillion speaks to. The dom-versus-sub narrative is beautifully showcased and, at times, more than steamy. Lighton keeps things simple and clear. Lighton has the strength needed to be a spectacle-heavy filmmaker who relies on feelings that change the lives of those who may seek refuge. The refuge that his characters are hiding from is never shown or addressed, but the audience can easily read into it from expression and indirect gestures that disrupt the arrangement Ray and Colin have become accustomed to. Harry Lighton can only continue to achieve success as a director, as this debut is fantastic, with an ending that is sure to leave the audience unsettled. 

Spectacle of a Masochist

The film has a tinted atmosphere, and it not only shows up in the way it is shot, but also serves as a veil for what both Colin and Ray are trying to hide, in contrast to showing vulnerability. Both Colin and Ray are in search of something; for Ray, it’s something dark and hollow; for Colin, it’s meaningful and real. The misunderstanding between the two characters creates an alignment that elevates the film’s cinematography and lighting. The film is also spectacle-heavy, from moments of longing to moments of intense lust and imagination. This is shown more through Colins’ ups and downs as he is searching to be fulfilled. Once the emotion sets in, the lighting and the atmosphere continue to level out, tying them both together. 

The score was futuristic in a voyeuristic way. It’s like a dopamine hit that sets in when the sound continues to combust. In these moments, the excitement works as a realization for Colin that he was chosen for reasons that do not make him the most desirable. Colins’s willingness to submit and find some sense of structure through an imbalanced relationship is what he feels is needed. Only as things come to a head does he express his true feelings and desires, which shift the film’s scope and score toward melodramatic tones. The score and lighting seem to understate Colins’ contribution as he is standing up for himself, though he’s not confident. As for Ray, who is stoic from beginning to end, only lightened in sound and lighting toward the end, which shows signs of growth, but also doesn’t absolve him of emotional damage. The interpersonal thoughts that both Colin and Ray have move the film forward in terms of elevating the lighting and sound alike. 

A Grand Closing

Pillion is a must-watch LGBTQ+ story on self-discovery through the lens of self-discovery. Understanding that seeking one thing while learning you desire more, even in an inferior position, was showcased beautifully in this film. The acting by Harry Melling and Alexander Skarsgard was exceptional, and at times it was hard to distinguish between fiction and reality. As for Pillion being Harry Lighton’s directorial debut, this was a promising showing that Lighton’s art form has only just begun. 

Watch Pillion in theaters everywhere!