Pillion (2025) Dir: Harry Lighton

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I love to watch something a little different every now and then, and this unusual romantic drama and comedy, which was the feature film directorial debut of Harry Lighton, was exactly that. I was quietly very excited for this film because it seemed to present an interesting look into the world of kink in the queer community, and felt like it would be an emotionally rich and stimulating experience.

I knew I was going to enjoy this film from its opening alone. The music used was very well picked, which turned out to apply to the entire soundtrack too - the whole film sounded great. I also thought the shot selection was wonderfully judicious. Some of the framing of the protagonist in particular was so smart and so effective in terms of storytelling. There was also a particular fade between two people's faces which was absolutely breathtaking. So much was said with just that one shot, and I absolutely adored it.

To that end, the film did a great job of using implied storytelling in general, allowing the audience to infer a lot of the thoughts and feelings of the protagonist through their acting - something I am a big advocate of, considering the amount of dumbed down content for 'second screen viewing' in mainstream media. The silences meant as much as the dialogue, which made the audience pay attention to those quiet moments just as much. I was so impressed by how well loneliness was depicted, especially during the winter scenes, which were some of the most pivotal in the whole film.

The way the relationship and power dynamics evolved was riveting to watch, because it was made to feel like the most important, intense, and intoxicating thing in the world. Watching the protagonist gain agency and assert boundaries felt so big and so satisfying because of the journey to get there. It's a film that hit on so many personal and emotional points; identity, espression, affirmation, and community, which was so beautiful to see play out, thanks to its tender execution, and the brilliant acting of its two male leads.

Speaking of which, I thought that the sensitivity and commitment of both lead actors played a huge part in this film's narrative impact. Harry Melling provided a career-defining turn as the timid and awkward Colin, and brought so much emotion to the film with just his eyes. He was endearing, he was funny, and so willing to be emotionally and physically vulnerable for the sake of the story - something that paid-off hugely.

Alexander Skarsgård also gave what was, in my opinion, his best performance to-date. I loved that his character was so much more than a one dimensional dominant biker, but, much like with Melling, the reason this was so apparent is, in-part, testament to Skarsgård's ability to convey so much without words. The way he presented vulnerability was very different to that of Melling and his character, but it was equally effective and interesting to break down and appreciate.

Overall, I thought this was a stunning and satisfyingly multifaceted film, which was easily one of my favourite cinema experiences of the year. It was rich in tenderness and vulnerability, it was beautiful and heartbreaking, and it was, at times, extremely funny. Few films have kept me as emotionally invested as this one did, particularly because of the superb performances of its two leading actors. I was so glad that this film played out the way that it did - a real highlight for independent cinema this year.