The narrative centers around Colin, portrayed by Harry Melling, an introverted parking officer whose mundane life is transformed when he encounters the enigmatic Ray, played by Alexander Skarsgård. Their connection ignites in a pub, leading to a unique and submissive relationship that pushes Colin to discover his desires and boundaries. Chris and Jessica delve into how this unconventional dynamic unfolds, highlighting Colin's emotional journey amidst Ray's mysterious persona and the complexities of their bond.
Listeners will be captivated as the hosts discuss the film's rich supporting cast, including Colin's loving yet confrontational parents, and the authenticity brought by the inclusion of real-life members of the gay biker community. The episode also touches on the film's explicit content, which is handled with care and respect, ensuring that it serves the story rather than sensationalizing it.
With a score of 8 out of 10, this episode invites listeners to reflect on the intricacies of love, identity, and self-discovery as depicted in *Pillion*, a film that dares to challenge perceptions while providing an engaging cinematic experience.
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00:00:00 --> 00:00:02 Chris: Okay, so here's something you don't see every
00:00:02 --> 00:00:05 day. A film that dives headfirst into the
00:00:05 --> 00:00:07 world of gay biker gangs, BDSM dynamics
00:00:08 --> 00:00:11 and unconventional relationships all wrapped
00:00:11 --> 00:00:14 up in a dramatic comedy. It's called Pillion
00:00:14 --> 00:00:16 and it's one of the most daring films I've
00:00:16 --> 00:00:17 seen in a long time.
00:00:18 --> 00:00:20 Jessica: Oh, I've heard about this. It's based on
00:00:20 --> 00:00:23 Box Hill by Adam Mars Jones. Right.
00:00:24 --> 00:00:26 That book was set in the pre AIDS era, uh,
00:00:26 --> 00:00:29 wasn't it? I've been curious about how they
00:00:29 --> 00:00:30 adapted it for the screen.
00:00:31 --> 00:00:34 Chris: Exactly. Harry Lytton directed it and
00:00:34 --> 00:00:37 it's actually his first feature film. He
00:00:37 --> 00:00:39 really took a risk here because this isn't
00:00:39 --> 00:00:42 just a love story. It's a deep dive into a
00:00:42 --> 00:00:44 world most people probably know nothing
00:00:44 --> 00:00:47 about. It's bold, unapologetic and
00:00:47 --> 00:00:49 surprisingly tender in places.
00:00:49 --> 00:00:51 Jessica: That already sounds fascinating.
00:00:51 --> 00:00:54 What's the setup? Who are the main characters
00:00:54 --> 00:00:54 we're following?
00:00:55 --> 00:00:58 Chris: The story revolves around Colin, played by
00:00:58 --> 00:01:00 Harry Melling. You might know him from the
00:01:00 --> 00:01:03 Queen's Gambit or even as Dudley Dursley in
00:01:03 --> 00:01:06 the Harry Potter films. Here he's this
00:01:06 --> 00:01:09 introverted, almost painfully naive parking
00:01:09 --> 00:01:11 officer who still lives with his parents in
00:01:11 --> 00:01:14 London. Colin's sweet, but he's also
00:01:14 --> 00:01:17 kind of lost. He hasn't really figured out
00:01:17 --> 00:01:20 who he is or what he wants, especially when
00:01:20 --> 00:01:21 it comes to his sexuality.
00:01:22 --> 00:01:24 Jessica: So he's just sort of drifting through life
00:01:24 --> 00:01:26 when something or someone
00:01:27 --> 00:01:28 shakes things up.
00:01:29 --> 00:01:31 Chris: Exactly. Enter Ray,
00:01:31 --> 00:01:34 played by Alexander Skarsgord. Ray
00:01:34 --> 00:01:37 is this rugged, enigmatic biker who's part of
00:01:37 --> 00:01:40 a gay motorcycle gang. Colin first sees him
00:01:40 --> 00:01:41 while performing in a pub with a little
00:01:41 --> 00:01:44 quartet. It's one of those moments where
00:01:44 --> 00:01:47 Colin's eyes just light up. You can tell he's
00:01:47 --> 00:01:49 instantly drawn to Ray, even though he can't
00:01:49 --> 00:01:50 imagine someone like Ray would ever notice
00:01:50 --> 00:01:51 him.
00:01:51 --> 00:01:54 Jessica: And does Ray notice him or is Colin just
00:01:54 --> 00:01:55 admiring from afar?
00:01:56 --> 00:01:59 Chris: Oh, uh, Ray notices him alright. After a
00:01:59 --> 00:02:01 brief conversation at the bar, Ray hands
00:02:01 --> 00:02:03 Colin a pickup note. It's so direct and
00:02:03 --> 00:02:06 unexpected. Fast forward to Christmas Day
00:02:06 --> 00:02:09 and they meet up in a back alley. Ray is
00:02:09 --> 00:02:12 commanding and Colin just follows. It's
00:02:12 --> 00:02:14 like Colin is stepping into an entirely new
00:02:14 --> 00:02:16 world. One he didn't even know existed.
00:02:17 --> 00:02:19 Jessica: That sounds intense. So
00:02:20 --> 00:02:22 is this a one time thing or does it develop
00:02:22 --> 00:02:23 into something more?
00:02:25 --> 00:02:28 Chris: That's the fascinating part. Colin assumes
00:02:28 --> 00:02:31 it's just a one time fling, but Ray has
00:02:31 --> 00:02:33 other plans. Over time,
00:02:33 --> 00:02:35 Colin becomes a part of Ray's life.
00:02:36 --> 00:02:38 He even moves in with him, though not in the
00:02:38 --> 00:02:41 way you'd expect. Colin sleeps on the rug
00:02:41 --> 00:02:44 at the foot of Ray's bed. He cooks for him,
00:02:44 --> 00:02:47 cleans for him, shops for him. It's this
00:02:47 --> 00:02:49 completely submissive arrangement and Colin
00:02:49 --> 00:02:52 not only accepts it, but starts to thrive in
00:02:52 --> 00:02:54 it. He begins to discover things about
00:02:54 --> 00:02:57 himself, his desires, his boundaries, what
00:02:57 --> 00:02:58 he's willing to give.
00:02:59 --> 00:03:02 Jessica: That's such a unique dynamic. It doesn't
00:03:02 --> 00:03:04 sound like a traditional relationship at all.
00:03:05 --> 00:03:07 How does Ray treat Colin in all of this?
00:03:07 --> 00:03:10 Chris: Ray's a bit of a mystery. He's poker faced,
00:03:10 --> 00:03:13 disciplined and a man of very few words.
00:03:13 --> 00:03:16 He doesn't give much of himself, not to Colin
00:03:16 --> 00:03:18 and not even to Colin's mom, who desperately
00:03:18 --> 00:03:21 wants to know more about him. But despite
00:03:21 --> 00:03:23 that, Colin falls for him deeply.
00:03:24 --> 00:03:26 The problem is Ray isn't interested in love.
00:03:27 --> 00:03:30 He's interested in control, in maintaining
00:03:30 --> 00:03:32 this very specific dynamic that must
00:03:32 --> 00:03:34 be so hard for Colin.
00:03:34 --> 00:03:36 Jessica: Does the film explore how he copes with that
00:03:36 --> 00:03:37 unrequited love?
00:03:39 --> 00:03:41 Chris: Absolutely. The emotional toll on
00:03:41 --> 00:03:44 Colin is a big part of the story, but
00:03:44 --> 00:03:46 it's not all heartbreak. Through this
00:03:46 --> 00:03:49 unconventional relationship, Colin learns
00:03:49 --> 00:03:52 so much about himself. It's a journey of
00:03:52 --> 00:03:55 self discovery as much as it is a story about
00:03:55 --> 00:03:58 their dynamic. He starts to understand
00:03:58 --> 00:04:01 his own desires and his own capacity to love,
00:04:01 --> 00:04:03 even if it's not returned in the way he
00:04:03 --> 00:04:03 hopes.
00:04:04 --> 00:04:07 Jessica: And what about Ray? Do we get any insight
00:04:07 --> 00:04:08 into why he is the way he is?
00:04:09 --> 00:04:11 Chris: That's one of the most intriguing things
00:04:11 --> 00:04:14 about the film. Ray remains a closed book.
00:04:15 --> 00:04:17 You get glimpses of his world through his
00:04:17 --> 00:04:19 interactions with his biker gang and his
00:04:19 --> 00:04:22 dynamic with Colin. But he never really lets
00:04:22 --> 00:04:25 anyone in. It's frustrating, but it also
00:04:25 --> 00:04:28 makes him fascinating. You're constantly
00:04:28 --> 00:04:30 wondering what's going on. Beneath the
00:04:30 --> 00:04:32 surface, it sounds like the
00:04:32 --> 00:04:34 Jessica: film really leans into the complexity of
00:04:34 --> 00:04:35 these characters.
00:04:35 --> 00:04:38 What about the supporting cast? You mentioned
00:04:38 --> 00:04:39 Colin's parents earlier.
00:04:40 --> 00:04:43 Chris: Oh, uh, they're incredible. Douglas Hodge and
00:04:43 --> 00:04:46 Leslie Sharp play Colin's parents, Pete and
00:04:46 --> 00:04:48 Peggy. They're warm, loving and
00:04:48 --> 00:04:51 so supportive. Peggy in particular is a
00:04:51 --> 00:04:54 standout. She's facing her own mortality.
00:04:54 --> 00:04:57 She's dying. But that doesn't stop her from
00:04:57 --> 00:04:59 speaking her mind. There's this one scene
00:04:59 --> 00:05:02 where she confronts Ray and it's just so raw
00:05:02 --> 00:05:04 and powerful. It's one of the highlights of
00:05:04 --> 00:05:04 the film.
00:05:05 --> 00:05:07 Jessica: I love that they included that family
00:05:07 --> 00:05:10 dynamic. It adds so much depth to Colin's
00:05:10 --> 00:05:12 story. What about the biker gang?
00:05:13 --> 00:05:15 Are they just background characters or do
00:05:15 --> 00:05:17 they play a significant role?
00:05:18 --> 00:05:20 Chris: They're definitely more than just background.
00:05:21 --> 00:05:22 Leighton actually spent a weekend with
00:05:22 --> 00:05:24 members of the gay Bikers, motorcycle club
00:05:25 --> 00:05:27 while preparing for the film and he ended up
00:05:27 --> 00:05:30 casting some of them. Their presence adds
00:05:30 --> 00:05:33 this layer of authenticity to the story. You
00:05:33 --> 00:05:34 get a sense of the camaraderie and the almost
00:05:34 --> 00:05:37 tribal bond they share. It's a world that
00:05:37 --> 00:05:38 feels very lived in and real.
00:05:39 --> 00:05:42 Jessica: That's such a cool detail. It sounds like
00:05:42 --> 00:05:43 Lytton really did his homework.
00:05:44 --> 00:05:46 Speaking of which, how does he handle the
00:05:46 --> 00:05:49 more explicit aspects of the story? I hm,
00:05:49 --> 00:05:52 mean, it's rated R, so I'm guessing it
00:05:52 --> 00:05:52 doesn't hold back.
00:05:53 --> 00:05:56 Chris: Not at all. The film is unapologetically
00:05:56 --> 00:05:59 explicit, both in terms of nudity and sexual
00:05:59 --> 00:06:02 content, but it never feels gratuitous.
00:06:03 --> 00:06:05 Leighton treats the subject matter with care
00:06:05 --> 00:06:08 and respect. It's honest and eye opening,
00:06:08 --> 00:06:10 but it's also good natured. It's not about
00:06:10 --> 00:06:12 shocking the audience. It's about being
00:06:12 --> 00:06:15 authentic to the story and the characters.
00:06:16 --> 00:06:18 Jessica: That's so important, especially with a topic
00:06:18 --> 00:06:20 that could easily be sensationalized.
00:06:21 --> 00:06:23 How would you describe the overall tone of
00:06:23 --> 00:06:26 the film? Is it more dramatic or does
00:06:26 --> 00:06:27 the comedy balance it out?
00:06:28 --> 00:06:31 Chris: It's a delicate balance of both. The dramatic
00:06:31 --> 00:06:33 elements are definitely at the forefront,
00:06:33 --> 00:06:35 especially when it comes to Colin's emotional
00:06:35 --> 00:06:37 journey. But there's also this underlying
00:06:37 --> 00:06:39 humor that keeps things from getting too
00:06:39 --> 00:06:42 heavy. It's subtle, but it's there and it
00:06:42 --> 00:06:42 works beautifully.
00:06:42 --> 00:06:45 Jessica: It sounds like a really unique film. How did
00:06:45 --> 00:06:48 you feel about the performances? Did the cast
00:06:48 --> 00:06:49 live up to the material?
00:06:50 --> 00:06:53 Chris: Oh, absolutely. Harry Melling is
00:06:53 --> 00:06:55 phenomenal as Colin. He captures this wide
00:06:55 --> 00:06:58 eyed innocence and eagerness to please that's
00:06:58 --> 00:07:00 so central to the character. And Alexander
00:07:00 --> 00:07:03 Skarsgord? Uh, what can I say? He's
00:07:03 --> 00:07:06 magnetic as Ray. He's tough, commanding
00:07:06 --> 00:07:08 and completely captivating. The chemistry
00:07:08 --> 00:07:10 between the two of them is palpable.
00:07:10 --> 00:07:13 Jessica: What about the visuals? I imagine a film like
00:07:13 --> 00:07:15 this would have a very specific aesthetic.
00:07:16 --> 00:07:19 Chris: Definitely. The cinematography is stunning.
00:07:19 --> 00:07:21 It's gritty and raw, but also incredibly
00:07:21 --> 00:07:23 intimate. You feel like you're right there
00:07:23 --> 00:07:25 with the characters experiencing everything
00:07:25 --> 00:07:27 alongside them. It's immersive in the best
00:07:27 --> 00:07:28 way.
00:07:29 --> 00:07:32 Jessica: So, uh, final thoughts. Would you
00:07:32 --> 00:07:32 recommend it?
00:07:33 --> 00:07:36 Chris: Without a doubt. It's not going to be for
00:07:36 --> 00:07:38 everyone, especially given the explicit
00:07:38 --> 00:07:40 content, but if you're open to it, Pillion
00:07:41 --> 00:07:43 is a well constructed, engaging film that
00:07:43 --> 00:07:45 explores a taboo subject with honesty and
00:07:45 --> 00:07:48 sensitivity. I'd give it an 8 out of 10.
00:07:49 --> 00:07:51 Jessica: That's a strong recommendation. I think I'll
00:07:51 --> 00:07:54 have to check it out. It sounds like
00:07:54 --> 00:07:56 a film that stays with you long after the
00:07:56 --> 00:07:57 credits roll.
00:07:58 --> 00:08:00 Chris: It really does. It's one of those films that
00:08:00 --> 00:08:03 makes you think, makes you feel, and maybe
00:08:03 --> 00:08:04 even makes you see the world a little
00:08:04 --> 00:08:06 differently. Definitely worth watching.
00:08:06 --> 00:08:09 Jessica: You've been listening to movies first
00:08:09 --> 00:08:09 available
00:08:09 --> 00:08:12 Chris: at Apple Podcasts, Spotify,
00:08:12 --> 00:08:15 iHeartRadio or your favourite podcast
00:08:15 --> 00:08:16 player. You can also stream on
00:08:16 --> 00:08:19 demand@bytes.com this has been another
00:08:19 --> 00:08:21 quality podcast production from
00:08:21 --> 00:08:22 bytes.com.