Colin (Harry Melling) has an “aptitude for devotion.” It’s a quality that he discovers about himself, develops and ultimately embraces over the course of “Pillion,” Harry Lighton’s “dom-com,” an amusing, illuminating and daring romance about a dominant/submissive relationship that proves revelatory for our young protagonist.

“Pillion” isn’t quite a love story, but rather a coming-of-age tale, leather-clad. Based on the novella “Box Hill” by Adam Mars-Jones, the film follows a relationship between the sheltered Colin and stoic biker Ray (Alexander Skarsgård), who meet in a pub one Christmas Eve. Ray immediately susses out Colin for his potential qualities — his "aptitude," if you will — and Colin keeps coming around, curious about the impossibly handsome Ray and the possibilities he presents.

The word “pillion” refers to the backseat of a motorcycle (and often those who might ride it), and Lighton invites the viewer to hop on the back of his hog for a kink-positive exploratory journey into the gay motorcycle gang subculture that Ray inhabits, all seen through Colin’s uniquely expressive eyes. Lighton doesn’t hold the audience’s hand or overexplain, he simply presents this world and allows us to learn the dynamics and rituals through observation, as Colin enthusiastically fumbles his way through Submissive 101 with the taciturn Ray.

But the anthropological aspect of “Pillion” is merely the backdrop for what is a period of personal discovery for Colin. He’s extremely close with his caring parents, particularly his mother Peggy (the great Lesley Sharp), who is dying of cancer. As his tight-knit family unit is fading away in front of his eyes, he clings to both the discipline and queer family that he finds with Ray; relinquishing all control in his relationship serves as a relief from his day-to-day routine writing parking tickets and sometimes singing in a barbershop quartet. Ray offers him sex, and danger, and access to an exciting new world, but in his rigid dominance, he also offers Colin freedom — from expectations, from decision-making, from quotidian drudgery.

We know Colin thrills to it, based on his reactions to the boundaries that Ray pushes. And Ray himself refuses to be pushed around. When Peggy bristles at the dynamic she witnesses between her son and his lover at a family dinner, Ray calmly informs her that just because she feels uncomfortable doesn’t mean there’s anything wrong with their relationship. It’s an important moment in the film because Lighton is lightly domming the viewer in the same way: check any squeamish inhibitions at the door, because no kink-shaming is welcome here.

Lighton presents it all with unvarnished honesty, allowing the tension and humor to bloom in the clash between Skarsgård’s forthright Scandinavian brusqueness, and Melling’s awkward British charm. Lighton and cinematographer Nick Morris favor natural light, particularly in Ray’s sparsely decorated apartment — the visual focus is always on the relationship itself. The film gets aesthetically expressive in slow-motion sequences when Colin is riding pillion on Ray’s bike, capturing the sensual excitement of it all, the wild ride that Colin has chosen to take.

Lighton favors music for setting the tone and locating the story within the emotional tenor of mid-century yearning classics. The soundtrack is studded with unique tracks like a cover of '60s love ballad “I Will Follow Him,” retro disco rock anthem “Bad Feeling” by Cobra Man, and a poignant performance of the standard “Smile” by Colin’s barbershop quartet.

But it’s the delicately wrought performances that allow us to walk hand-in-hand with these characters. Melling’s face and eyes reveal the sheer joy of surrender as Colin dives into Ray’s way of life; later, when he flips the script on his partner, Skarsgård’s inscrutable expression shields Ray’s emotions as he visibly resists any connection that might take a different form than the one they’ve built, chain link by chain link.

The edgy and explicit “Pillion” might be set within the parameters of a relationship that many would consider “alternative,” but the heart of it is the same as any love story that becomes a lesson in self-love. Not every relationship lasts, but we are changed by every one, and hopefully for the better.

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'PILLION'

3 stars (out of 4)

No MPA rating (contains graphic sex scenes, nudity and discussion of sex)

Running time: 1:47

How to watch: In limited theatrical release Feb. 6, expands Feb. 20

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