A dom/sub arrangement can seem like pageantry. Part of the fun of "Pillion" is learning the codes: an expression of affection can be "Lick my boot," or "Make my dinner," or "Follow my schedule." Colin, the protagonist in "Pillion," seems to enjoy the clarity in his new arrangements--and who could fail to understand? Ambiguity can be so tiresome.
But ambiguity creeps in. It just always creeps in. Sometimes, Colin wants to drop the act; he wants to read his book past the "lights out" signal, or he wants to hang out at a pub. It's not oppressive for Ray to say no; for Ray, the possibility of a hangout has never been "on the table." But it's possible that Ray and Colin just can't come to terms with each other.
Harry Meling and Alexander Skarsgard have great charisma; we *want* a satisfying resolution for these characters, because the performers are charming. It's especially fun to look for signs of Ray's affection--seeping out around the edges of the social role he is playing. Ray remains enigmatic, because the story is not Ray's story--but Skarsgard lets us see (or half-see) that Ray is a decent, conflicted person.
The other treat in the movie is the chance to watch someone discover what he himself wants, learn to articulate what he wants, and learn to make something of his own emotional pain. Harry Meling--what a find. This movie was released in November, so it's strange to me that Meling has been overlooked by "the Academy."
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