Humanizing the submissive: a kinky, brilliant, bittersweet Cannes award-winning feature debut
In recent years, there has been a perplexing pushback against sex in film. Whether it be on social media or in general conversation, it seems like sex it, and especially kink, has been relegated back into being taboo. Regressive to say the least. To combat this, we need films that explore sex and kink as something that can be beautiful and rewarding. Yes, sex can be awkward, and kink can be uncomfortable, but it is important and worth attention. We all get our rocks off to something different. To each their own.
Pillion, the debut feature from writer-director Harry Lighton, understands this. It is a film that is not afraid to show the messy aspects of a BDSM relationship—the awkward, the uncomfortable—but it also understands the importance and impact kink can have on us as individuals and its potential to create community. Seductively-crafted, with memorable emotional and erotic performances, and leather aplenty, Pillion is a kinky, bittersweet cautionary tale. Lighton explores the complex and emotional nature of being a people pleaser at the expense of your own boundaries and comfortability.
Receiving its world premiere in the Un Certain Regard category at the 78th Cannes Film Festival, the handsomely-made feature rightfully won the Best Screenplay prize, as well as another special award, the Palm Dog’s “Mutt Moment” for canine Hippo. The film’s human stars, Harry Melling and Alexander Skarsgård, portray a young gay man, Colin (Melling), as he becomes infatuated with a stoic and cold, but devilishly handsome biker, Raymond (Skarsgård). They develop a sexual connection through BDSM that blossoms into a strict dom/sub relationship. As boundaries go unspoken and feelings get restricted, complications arise within their dynamic.
The true shining headlight of the film is Lighton’s screenplay, adapted from Adam Mars-Jones’ 1970s-set novel Box Hill, bringing the action to the present day. Erotic and compassionate, it stands on its own amongst other kink-laden queer films, looking at BDSM as a way to develop one’s true self and to find community. It is not used for shock value or something to be wary of, à la William Friedkin’s Cruising (1980). It humanizes the dehumanized. Through Colin, Lighton is able to add emotional complexity to a submissive who yearns for more than just sex; the desperate need for connection when feeling lost. By the end of the film, we have experienced that yearning and frustration with Colin, but we also come out with a better understanding of establishing boundaries.
The duo of Melling and Skarsgård rides this film with ease and their chemistry is wonderfully in sync. Considering Melling’s previous role in Please Baby Please, another leather laced queer film, he was a perfect fit for Colin. Melling, the emotional crux of the film, steers us in directions of devotion and vulnerability; changing lanes from awkward shyness to humor, then yearning to frustration and jealousy to great effect. He brings a tenderness to Colin, and despite how frustrating the character may become as a result of his choices, he is grounded in real feelings and tangible motivations thanks to Melling’s performance, which makes the perfect contrast to Skarsgård’s Raymond.
Skarsgård plays a man of many looks, but few words. Ray is a sexy, dominating presence, so it makes sense to recruit a tall, physically intimidating Scandinavian. Skarsgård, however, still manages to keep his foot on the pedal despite the spare dialogue. Any time there is a lack of spoken words for his character, he makes up for in the physical and intimate moments.
Another performance that is equally deserving of praise is Lesley Sharp as Peggy, Colin’s ill mother. Quippy and brassy, she becomes concerned as her son withdraws into his relationship with Ray. Sharp adds another emotional layer to the film, often accompanied by overly-caring mother humor, and brings a lovely presence on screen.
Pillion stands strong amongst other recent queer films, with an extra bite to it, and I hope it will open the door for more sex and kink-positive representation on screen in the future. Acquired by A24 for US distribution, it deserves a major theatrical release and its leather-bound flowers.
By Andrew Pankey
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