Pillion Review: A bold new film is shifting gears from its literary source material. “Pillion,” the directorial feature debut from Harry Lighton, offers a vibrant and contemporary reinterpretation of Adam Mars-Jones’ acclaimed 2020 novella “Box Hill,” trading the original’s somber 1970s backdrop for a modern, sun-dappled exploration of desire and self-discovery.
While retaining the core character names—Colin and Ray—the film deliberately departs from the novel’s poignant themes of queer identity in the shadow of the AIDS crisis. In their place, Lighton crafts an engaging, often humorous coming-of-age story that follows Colin (Harry Melling), a mild-mannered traffic warden, as he is whisked into an unexpected dominant/submissive relationship with the enigmatic, leather-clad Ray (Alexander Skarsgård).
A Journey Begins on Christmas Day
The narrative kicks off with a quintessential modern mystery: a handwritten note. On Christmas Day, Colin receives an instruction from the stranger he knows only as Ray to meet outside a Primark store. Over the protests of his worried parents—who insist he take the family dachshund for safety—Colin embarks on an adventure that will dismantle his quiet world. He is soon introduced to Ray’s universe of motorbikes, leather, and unorthodox erotic intimacy, a journey that becomes as much about personal awakening as it is about sexual exploration.
Star Power and Chemistry
The film’s engine runs on the compelling dynamic between its two leads. Harry Melling delivers a nuanced performance as Colin, masterfully portraying his character’s evolution from awkward innocence to burgeoning confidence with a deeply relatable, hangdog charm. Opposite him, Alexander Skarsgård embodies Ray as a near-mythic figure of dominance and charisma, whose allure is as magnetic to the audience as it is to Colin. Their on-screen chemistry provides the film’s undeniable heartbeat.
A Deliberate Departure
“Pillion” makes several clear divergences from its source, notably modernizing the setting and softening Colin’s familial backdrop. However, its most significant—and likely most debated—choice is its tonal shift. Where Mars-Jones’s novel builds toward a heart-wrenching conclusion, Lighton’s film opts for an ambiguous, open-ended resolution, focusing less on tragic romance and more on the replicable nature of formative experiences.
This lighter approach does not come at the expense of depth or daring. The film features some of the most audacious and sensuous depictions of intimacy and BDSM dynamics in recent memory, facilitated by intimacy coordinator Robbie Taylor-Hunt. These scenes are handled not with salaciousness, but with a focus on vulnerability, trust, and communication.
The Verdict
“Pillion” stands not as a strict adaptation, but as a confident reimagining. It captures the spirit of discovering one’s desires while carving out a distinct, upbeat identity of its own. The result is a film that is both surprisingly touching and refreshingly bold, inviting audiences to reflect on the complexities of connection, power, and identity in the modern world.
“Pillion” is now showing in select theaters and available on digital platforms.
