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Match made. Pillion Good Boys Candle, Rottweiler and Dachshund chained candle set, made in collaboration with Olga Goose Candle is now in the Shop. a24 Ig (x)
[Shop Link: https://shop.a24films.com/products/pillion-good-boys-candle/ (x)]
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Behind The Scenes
Pairing: Alexander Skarsgard x Black oc Summary: Alex's newest controversially young girlfriend, Evie, lives life with her head in the clouds. Not much of a fan of watching movies or keeping up with celebrities, she never cared much about him being an actor. What she likes most about him is that he is kind, down to Earth, mature, and a gentleman. But, excitement for their future together comes to an immediate halt... Now having to rethink introducing this man to her parents; a date-night to a premiere for his newest movie, Pillion, hits Evie with the shocking revelation of just what kind of actor her boyfriend truly is. Author's Note: Just something short and kinky in excitement for the US release of Pillion, coming February 6th, 2026!! <3 Warnings: #Dark!Alex #Manipulative!Alex #Dom!Alex #Sadist!Alex #SUPERKINKY
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Pillion is not about BDSM
Content Warning: This review discusses themes of emotional manipulation, imbalanced relationships, and BDSM practices.
At first glance, Pillion might seem like a film about BDSM. And on a surface level, it is. The story, adapted and directed by Harry Lighton in his feature debut, follows Colin (a masterfully nuanced Harry Melling), a timid young man with vanishingly low self-esteem. He is drawn to Ray (Alexander Skarsgård), an attractive, reserved biker who introduces Colin to a world of dominance and submission.
But to reduce Pillion to its kink is to miss its point entirely. BDSM here is not the subject, but a literalised metaphor. The film uses this practice as a lens to examine the exploitative nature of certain human relationships, the weight of unmet emotional needs, and the devastating, transformative cost of seeking validation through another person.
Colin is submissive by nature, a man so accustomed to erasing himself that he finds a perverse relief in Ray’s clear, commanding rules. He seems to have had no serious prior relationships, which compounds his lack of self-esteem. It doesn't take much for Ray to break him down and establish dominance over every sphere of their life together. Colin cooks, cleans, runs errands, and services Ray’s desires, interpreting every command as a form of attention. Ray dresses him up in rugged leather, makes him shave his head, and fastens a padlocked chain around his neck. For Colin, these acts feel like rites of passage, each one a comforting token of belonging and inclusion into Ray's world. For Ray, however, it is the process of grooming, he treats Colin like a pet, he is not allowed on the couch and must sleep on the floor.
It’s crucial to note: the following is not a critique of consensual BDSM practices, but of this specific arrangement. Colin isn’t drawn to submission, he’s rather desperate for connection with Ray, and this is the only currency Ray accepts.
Their relationship is exploitative at its core, yet Colin is utterly charmed. Being chosen by Ray even gives him a strange confidence, so much so that he proudly shows pictures of his buffed boyfriend to surprised colleagues and eventually experiences separation from his parents. Ironically, it’s Colin’s mother, Peggy (Lesley Sharp), who, while terminally ill and wholly supportive of her son’s identity, sees the relationship for what it is. Ray’s hostility to any biographical probing or emotional intimacy confirms her fears. Wanting to ensure her son is in a happy, healthy relationship before she dies, Peggy sees Ray, emotionally inscrutable, fiercely private, and in total control, as the worst possible scenario for Colin. Despite her efforts, Colin and Ray walk out of a family dinner orchestrated at Peggy's request, showing Colin's decisive break from his parents' influence.
Weeks later, following Peggy’s funeral, Colin returns to Ray’s place only to find him emotionally absent from his family grief. In a moment of misery, or perhaps quiet manipulation, Colin burns his hands while cooking dinner, forcing Ray to care for him for the rest of the evening. This creates a fragile break from their routine: Ray orders pizza, tells a joke, and allows Colin into his bed, even unknowingly cuddling him in his sleep.
Longing for this version of Ray, Colin attempts to negotiate for more “days off” from their arrangement and occasional nights together in bed. When his suggestions are rejected, Colin, feeling desperate, begins testing the limits: he puts on Ray’s clothes, crawls uninvited into his bed, and finally, in a burst of unhinged emotion, he takes Ray’s bike for a reckless midnight ride. He does everything that is forbidden in their relationship. It’s a raw act of teenage-like rebellion mixed with an adult's failed attempt at setting terms.
Surprisingly, Ray accepts this outburst stoically. When Colin returns the next morning, Ray, perhaps out of pity or momentary empathy, proposes they spend a day as a "normal" couple. They share breakfast, go to the movies where Ray jerks Colin off and they ran away after being caught in action, and then wrestle playfully in a park where Colin, for the first time, overpowers Ray and initiates their first genuine kiss. In that brief, vulnerable moment, Ray’s guard drops completely, offering a glimpse of the self he keeps so fiercely hidden.
[Spoilers Ahead]
The next day, Ray vanishes. His disappearance is the film’s masterstroke of ambiguity. Was he overwhelmed by his own emotions, or simply returning to a separate life? We never learn. In his aftermath, Colin registers on a dating app as a submissive, meeting a new dominant partner.
[End Spoilers]
Pillion presents two deeply traumatised characters using the same relationship structure for opposite psychological needs. Colin, who has long suppressed his emotions, may struggle with setting boundaries and self-expression, perhaps hinting at being on the spectrum. For him, the submissive role initially offers relief from the anxiety of self-determination, it fills his emotional void by depriving him of responsibility, letting him occupy the “pillion” seat in both the relationship and his own existence.
Ray, in contrast, consciously suppresses his emotions. His dominance acts as a fortress, a way to engage without ever being emotionally vulnerable, a protective behaviour likely adopted due to past trauma that we never find out.
For Colin, the relationship with Ray becomes a painful yet necessary healing experience. In being deprived of even his smallest needs, he finally discovers what he truly lacks: not just the freedom to express emotion, but the fundamental need to be acknowledged. This deprivation ultimately gives him the strength to push off the emotional bottom and fight toward the surface.
Ray, intriguingly, seems to recognise this need in Colin. He offers that one day of normality. But for Ray, such emotional exposure seems to function as a kind of PTSD trigger. He flees from his growing affection as instinctively as he flees from his own true self. Their shared tragedy is that Colin outgrows the suffocating blanket of control just as Ray realises he cannot survive without it.
Colin’s final decision came to me as a surprise. I suppose his experience with Ray awakened certain masochistic tendencies, or perhaps revealed to him that relationships built on clear roles of dominance and submission feel like the only spaces where he can be certain he is needed and loved. The crucial difference, however, is that he now enters these spaces on his own terms. He sets non-negotiable boundaries and engages voluntarily, with a newfound sense of self-control. He may still seek submission, but he is no longer a pillion in his own life, yet this experience has transformed him past the point of desiring what society might call a conventional “healthy” relationship.
Once more, BDSM in Pillion functions is a metaphor for exploitative relationships, suppressed emotions, and the quiet traumas we carry. You don't need to be part of the BDSM scene to recognise such an arrangement. As the film shows, we may enter these bonds not out of masochism, but from a fear of loneliness and a desperate need to feel wanted. These relationships are extremely difficult to leave, they break you, and in doing so, they transform you. Pillion offers a compassionate insight into how anyone, especially in a state of vulnerability, can become entangled, arguing that you cannot blame the victims of exploitation for the circumstances they were placed in.
The casting is impeccable. Skarsgård brings an unsettling, Scandinavian stillness to Ray, but this is undeniably Harry Melling’s film. His physical and emotional transformation is breathtaking, capturing Colin’s journey from quiet self-effacement to defiant awakening with painful precision. Looking at his perfect performance, I feel Melling is truly "the boy who lived", a rare child actor who has advanced into a formidable career. His innate British quirkiness also provides the film’s essential, uneasy comic relief, reminding us that Pillion is, at its heart, a romantic black comedy.
The cinematography is equally on point. While I haven’t seen Lighton’s previous short films, I can feel that experience in the long, slow-motion shots that feel super cinematic. The picture is natural, with limited artificial lighting, giving it a docu-realism. Using muted colours, Lighton creates a world that perfectly mirrors the characters’ internal suppression.
Ultimately, Pillion’s message resonates far beyond its specific topic. It’s a film about the danger of making yourself the supporting character, the pillion passenger, in your own life. Its theme feels strangely reminiscent of my earlier review for Sentimental Values (another Skarsgård coincidence), which also argued for following your own life script. As in that film, you cannot build your life around another's expectations. In Pillion, you cannot define yourself solely through a partner’s desires, no matter how selflessly you love them. Building a relationship on the bedrock of your own erasure is a form of slow self-annihilation. The path to healing, then, isn’t necessarily about rejecting a particular arrangement, but about entering it, or any relationship, from a place of self-possession, with your own hands firmly on the handlebars. It’s about ensuring your needs are acknowledged. And that isn’t selfish. Selfishness is watching someone sacrifice their life for your comfort and doing nothing about it.
Pillion is a challenging, compassionate, and brilliantly acted exploration of the cages we consent to enter, and the painful, necessary work of forging our own key. Thanks for this subtle, sharp reminder.
📸 Image credit: The promotional stills used in this review are provided courtesy of the film's production and distribution company.
Awesome Murderbot Fan Art - shade_of_stars_art Ig (x) Thanks alexanderskarsgard_archive on Ig.
"Murderbot.
Watched it, liked it, now reading the books. Had to paint."
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Alexander Skarsgård, Akshay Khanna, David Dasmalchian, Sabrina Wu, Anna Konkle - Murderbot Promo (x) - Murderbot, Ratthi, Gurathin, Pin-Lee, Leebeebee
Alexander Skarsgård, David Dastmalchian – New Murderbot Clip – Shown on The Late Show with Stephen Colbert, 13 May ’25, (x) Apple TV+. Thanks SwedishDelish.
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"New behind-the-scenes of Alexander Skarsgård as Murderbot via The Cinematography Podcast @thecinepod!
Repost @thecinepod: NEW EPISODE! Tobias Datum: creating the sci-fi world of Murderbot.
Cinematographer Tobias Datum created Murderbot’s distinctive visual identity across different settings: space ships, alien planets and a galactic soap opera.
Listen/watch now! https://youtu.be/2RgSa8eTIYo I will link in my story. Some of the images are from the video on YouTube which includes David Dastmalchian and creators Chris Weitz and Paul Weitz.
Murderbot season one is available on @appletv now. It was renewed for season two but they haven’t started shooting yet."
