‘I think my mum’s going to like it’: Alexander Skarsgård on his gay biker ‘dom-com’ Pillion

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In May, Cannes went weak at the knees for Harry Lighton’s tale of BDSM and bootlicking in suburbia. Ahead of its release, the director and his stars reveal the explicit shots snipped from the final cut and discuss why Pride has become too sanitised Harry Melling knows the secret to being a good boot-licker. “You want to give a decent, satisfying, sexy lick,” says the 36-year-old actor, who has the umlaut eyes and nasal tones of Nicholas Lyndhurst. “Once you get to the toe-cap, you need to make sure they can really feel your tongue through the leather.” Melling, barely recognisable from his childhood role as wretched Dudley Dursley in the Harry Potter films, learned this new skill while preparing for the award-winning BDSM romcom Pillion. He plays Colin, a timid traffic warden who becomes the willing submissive to a taciturn biker named Ray. Listening intently to Melling’s boot-licking tips in this London hotel room are his Pillion partners-in-kink: Harry Lighton, the film’s 33-year-o...
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Best films of 2023 in the UK: No 7 – Saint Omer

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Alice Diop’s award-winning courtroom drama doubles as an unsentimental study in empathy with one of the year’s most mesmerising performances

At this year’s Venice film festival, Alice Diop’s unblinking stunner Saint Omer was handed the prize for best debut film – a reward that would have seemed inadequate if it hadn’t shortly afterwards taken the grand prix in the main competition, and inaccurate under any circumstances. Diop’s film is only a debut if you’re happy to disregard documentary as a lesser branch of cinema that somehow doesn’t count; as her first dramatic feature, Saint Omer merely extends the clear-eyed gaze and burning social interest of her non-fiction work into new narrative terrain, with nary a tremor of uncertainty. Films like We showed Diop has form in braiding truth, storytelling and intense human scrutiny; Saint Omer isn’t so very different.

The surprise is that Diop’s entry into fiction takes the form of a courtroom drama, among the most rigidly procedural and rule-bound genres in the medium – only to strip it of its expected structures and rhythms, centring disordered interior feeling amid unyielding legal process. The case, drawn from a real-life 2016 headline-maker in France, is stark and horrifying: legally straightforward, perhaps, but psychologically tumultuous. Young Senegalese Frenchwoman Laurence Coly (Guslagie Malanda, often scarcely moving a muscle while giving one of the year’s most mesmerising performances) is accused of murdering her infant daughter. She doesn’t deny the act, but claims sorcery was to blame, sticking calmly to her story over days of frustrating testimony – shot by Claire Mathon with penetrating stillness, allowing the viewer to take in her micro-shifts in expression and intonation, her consistency of comportment, her occasionally lofty turns of phrase, as she repeats her awful confession over and over.

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