Storytelling in British film-making is at its best when an underdog punches above their weight, romantically or otherwise. It’s always a subtle journey, no fairy-tale Hollywood gloss or high-action required, just humour, restraint and emotional, sometimes sad, honesty. The journey is internal rather than physical. Think Shirley Valentine, Notting Hill, Educating Rita, Calendar Girls, Billy Elliot, Made in Dagenham, Truly, Madly, Deeply, The Full Monty and so on. We love to see ordinary, overlooked or underestimated people discover confidence, love and live their best lives, even if there isn’t always a happy ending. Queer narratives in film haven’t explored this area as often. Perhaps it’s harder to believe a hot gay guy falling for someone much less attractive on screen, even though in real-life that’s possible. Pillion, probably the most talked-about queer film this year, explores these themes and others in a very entertaining feature debut by director Harry Lighton.

Based on 2020’s Box Hill novel by Adam Mars-Jones, Pillion brings together hunky Alexander Skarsgard (True Blood) and Harry Melling (Dudley Dursley in Harry Potter) in an unusual, offbeat comedy drama romance. Melling plays Colin, a nerdy, average-looking, parking attendant who lives at home in Bromley, South London with his parents Peggy (Lesley Sharp) and Pete (Douglas Hodge). They are a close-knit family, and share everything, including their joint quest for Colin to find a boyfriend. Colin and Pete sing in a barbershop quartet together; Colin’s one area of confidence. Peggy is dealing with late-stage cancer.

It’s Christmas Eve, and Colin and Pete are singing in a local pub. Later, at the bar, Colin is approached by an impossibly handsome leather-clad biker, Ray (Skarsgard), who makes him pay for his crisps. Colin, awestruck at being the attention of such beauty, agrees, and is rewarded with a card telling him to meet in town the following evening, by a local branch of Primark. After discussing it with his parents, Colin meets Ray on Christmas Night, and it’s clear from the offset that the strapping Ray is an alpha-male dom-top looking for a submissive project. Colin, clearly punching above his weight physically, is more than happy to oblige as Ray takes him round the back of Primark for their first sexual encounter. This is the beginning of a journey for Colin as he quickly learns to submit to Ray’s fastidious, quiet life at home (humorously in suburban Chislehurst), and on the road with his biker gang (featuring real-life members of the UK’s Gay Bikers Motorcycle Club community, as well as a cameo from the Scissor Sisters’ Jake Shears). Ray’s dom rules for sub Colin are strict. Colin must do all Ray’s cooking and shopping, sleep on the floor, wrestle and have sex Ray’s way, buy a butt plug to loosen up, shave his head and dress as the other bikers. With no days off ever, and no kissing. The enigmatic Ray gives little away about himself, assuming his looks, big dick and sexual prowess are all Colin needs.

Initially, Colin accepts this arrangement, partly out of wonderment, his ‘aptitude for devotion’, and partly, I imagine, due to low self-esteem. His parents, however, have concerns for Colin’s welfare, particularly his ailing mother, who wants Colin to be in a good place in case anything happens to her. Over time, Colin finds his feet in the relationship and stubbornly tries to push back against elements of the strict regime. How is this going to pan out for the two of them?

Pillion lives up to its hype. I can’t imagine better casting than Skarsgard and Melling for the unlikely couple. Skarsgard is brilliant as the complex, inscrutable Ray, Melling equally so as the hapless Colin, eager to please. Sharp and Hodge are the perfect supporting cast, with Pete displaying similar character traits to his son. The casting of Jake Shears as a fellow sub and using real-life queer bikers and members of London’s kink community are nice touches. It’s a thought-provoking plot, and anyone who has ever been in a coercive, controlling relationship, romantic or otherwise, will be able to connect to it, as well as those who haven’t. There are great light touches of humour, such as when Ray and Colin have a sexual wrestle with Tiffany’s ‘I Think We’re Alone Now’ playing in the background, or when Colin gives Ray a box of cheap Roses chocolates after sex one time. There’s sadness too – the humour and sadness cleverly kept at bay so as not to detract from the tight power dynamics. It’s a sexy film – with Skarsgard’s amazing, strong body and posture used to full effect, but that’s secondary to what’s going on regarding the mental chemistry of the characters. Grace Snell’s costumes and Oliver Coates’ music perfectly complement proceedings.

Equally brutal and tender, Pillion is an unmissable, very focused, future British classic. 10/10