The line between portraying alternative lifestyles and excusing harmful relationships isn't always clear, and regrettably, writer-director Harry Lighton’s first feature doesn’t seem to grasp that distinction. This sexually explicit “romance”—a term I use cautiously—chronicles the experiences of Colin (played by Harry Melling), a shy gay man living with his parents who struggles to find dates, after he encounters Ray (Alexander Skarsgård). Ray is an enigmatic, very masculine biker/leatherman with a sculpted physique; he appears as if he walked straight out of a top-tier gay adult film. Their relationship has complications: Ray operates as a “dom” and strictly controls every aspect of his new “sub’s” life. While these kinds of dynamics aren't inherently problematic in same-sex relationships (or any type of partnership, really), when interactions between partners cross certain boundaries, they can become deeply troubling. Ray treats Colin like property, which isn't unheard of in similar arrangements, but the situation takes a concerning turn as it escalates to emotional and then physical abuse. What’s most upsetting is that the film implies such behavior is simply part of dominant/submissive relationships—an unavoidable consequence. As someone who identifies within the LGBTQ+ community, I find this position goes too far, even if Colin seems willing to endure potentially damaging or humiliating treatment. Such actions would never be tolerated in other types of relationships, so why should they be accepted here, especially given that the film appears to present them as “normal,” even celebratory? This sends an inappropriate message, particularly for members of the LGBTQ+ community who already grapple with low self-esteem due to past ridicule and mistreatment—not just because of their sexual orientation, but at the hands of someone within our own group. The film’s stance feels like adding fuel to a fire that's already burning intensely, which I consider wholly unsuitable, especially when we should be focused on building each other up. Sadly, this reinforces negative stereotypes about gay people at a time when the community is facing increased scrutiny and criticism—an outcome fostered by those who can least afford it. While there’s some value to the story's message regarding self-acceptance (Colin’s willingness to embrace his identity as a submissive), that doesn’t justify encouraging someone to accept anything that comes with it, including allowing themselves to be subjected to abusive acts. Despite these significant flaws, the film has garnered support, demonstrated by its three BAFTA Award nominations and five Cannes Film Festival acknowledgements (including two wins). Nevertheless, “Pillion,” in my opinion, pushes these ideas too far and conveys a harmful message, especially for those who might be too young, inexperienced, or impressionable to recognize the potential dangers until it’s too late. That's simply wrong, and it’s why I dislike this release so strongly, even if some of my peers in the LGBTQ+ community feel differently. Harmless role-playing and exploration of different interests are one thing, but hurtful, damaging, psychologically manipulative abuse is another entirely separate issue. And, unfortunately, this film doesn't adequately distinguish between the two.

Source on TMDB