Shadows on the Wall

Pillion

dir-scr Harry Lighton
prd Lee Groombridge, Ed Guiney, Andrew Lowe, Emma Norton
with Harry Melling, Alexander Skarsgard, Lesley Sharp, Douglas Hodge, Jake Shears, Jake Sharp, Georgina Hellier, Nick Figgis, Mat Hill, Anthony Welsh, Rosie Sheehy, Jacob Carter
release US 31.Oct.25,
UK 28.Nov.25
25/UK BBC 1h47

CANNES FILM FEST

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There's a lot of buzz around the dominant-submissive queer sexuality in this movie, but the truth is that this is actually an unusually sensitive coming-of-age story, made for adults who aren't afraid of an honest depiction of a sex-positive subculture. Astute writer-director Harry Lighton takes a grounded, earthy approach that's warmly humorous and unusually delicate, anchored in riveting and refreshingly unflinching performances by Henry Melling and Alexander Skarsgard.

A parking warden who sings in a barbershop quartet, the nerdy Colin (Melling) lives with his parents (Sharp and Hodge), who encourage him to find a boyfriend. Then at a pub, the ridiculously hot biker Ray (Skarsgard) asks him out. He pursues Colin as a submissive partner who rides pillion on his motorbike. This kind of relationship is new to Colin, but he naturally takes to the task of adoration and servitude. He also begins to crave an emotional connection, and when he gets a glimpse of the possibilities, he needs to make a decision.

Never overly explicit, the sex scenes make it clear what's going on, revealing an intriguing bond that expresses deeper romantic feelings. Even on a day out with Ray's biker gang, intriguing moments of defiance and jealousy intermingle with tenderness and affection. And since this is seen through Colin's eagerly involved perspective, the film becomes the story of how he discovers his deeper love for Ray, and also what he needs from a partner.

These layers of meaning are tricky to convey, but the transparent performances offer far more nuance than the types might suggest. Melling's awkwardly likeable Colin simply wants someone in his life, but he's also ready to stand up for his deeper yearnings in his own way. Skarsgard oozes charisma as the alpha Ray, quietly ordering Colin to take care of him then making him sleep on the floor next to his dog. There's never any cruelty; Ray genuinely seems to be in love, but unable to express it.

Just as intriguing is how the film depicts others in Colin's life, including his concerned family, which is dealing with its own crisis, his work colleagues and the bikers who accept him into their pack. So even in the more extreme scenes, there's an interpersonal angle to the storytelling that's often startlingly moving. It also has a knowing truthfulness that adds humorous touches in unexpected places. After making several terrific shorts, this confirms Lighton as a feature filmmaker to keep an eye on.

themes, language, sexuality 7.Nov.25

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