Pillion arrives in Australian cinemas with a fast-rising reputation.  It premiered to positive reviews at last year’s Cannes Film Festival where it won best screenplay in the Un Certain Regard section.  33-year-old director Harry Lighton was nominated at the 2026 Directors Guild Awards for best first-time theatrical film.  The voters at BAFTA have shown their appreciation with nods in three categories including best adapted screenplay, alongside One Battle After Another and Hamnet, and best British film.

The raves are deserved.  I appreciate this R-rated drama won’t align with everyone’s tastes but if looking for a wildly different romantic tale, this is for you.  Pillion is an independent feature, with a budget of less than £1 million, but its two stars will be known to many.  Harry Melling played Dudley Dursley in the Harry Potter franchise and has continued in the industry with roles in theatre, television and film.  Swedish actor Alexander Skarsgård, son of Stellan, became widely known through his turn in True Blood and later won an Emmy for his work on Big Little Lies.

Melling plays Colin, a young, openly gay man who still lives at home with his mum (Sharp) and dad (Hodge) in London.  They may not be as chillaxed as the parents in Call Me by Your Name but they’re supportive of their son’s sexuality.  They want him to find a great boyfriend and the film opens with Colin going a blind date at the local pub – an outing fully orchestrated by his helpful mum.  It’s not exactly love at first sight but while at the bar buying drinks, Colin has a fleeting interaction with unexpected suitor, Ray (Skarsgård).  He’s a tall, bearded, masculine bikie and the pair agree to meet up a few days later.

A relationship soon develops but it’s not one we’re accustomed to seeing on the big screen.  Without giving too much away, it’s one of dominance and submission.  If you thought the Fifty Shades of Grey franchise was pushing boundaries, Pillion is completely redefining the playing field.  I did enjoy the gasps and other surprised reactions at the well-attended preview screening last weekend.  It will be an eye-opener for some!

English newcomer Harry Lighton is to be commended for both his writing and direction.  It’s a terrific script that keeps you intently interested in power games between the two protagonists.  Is Colin comfortable with being so submissive in the relationship?  Is he doing it because he likes it or because he lacks self-esteem?  Does he want something more?  In Ray’s case, has he always been like this?  Is there a softer side behind his tough, punishing exterior?  Does he take things too far?  The best scene in the film involves lunch with Colin’s parents where key questions are finally aired.

The performances can’t be faulted, and they make it easy to follow the intellectual and emotional development of both characters.  It’s wrapped up in a tight 107 minutes, and the film blends hope and sadness in finding a way to end on a credible note.  A funny, provocative, enlightening “romance” you won’t soon forget.