Colin lives at his parents' house, where he helps care for his terminally ill mother while still technically a young man dependent on his family. He meets Ray, an older, strikingly handsome man who commands a local motorcycle crew, and their first encounters are edged with caution. Ray assesses Colin with a mix of curiosity and control; Colin hesitates, unsure whether to follow. Ray initiates him into a formal power-exchange relationship: Colin's daily routine rearranges around Ray's demands. He does the household shopping, prepares Ray's food, scrubs and tidies Ray's living space, and accepts that he must sleep on the floor beside Ray's bed rather than in it. Ray gives orders that Colin obeys without question; the arrangement becomes a structured, rule-bound dynamic. Ray also brings Colin into the circle of his motorbike club, and Colin begins taking part in the group's rides and stops, moving from outsider to a subordinate presence within the gang.

As weeks pass, Colin's parents grow concerned about the opacity of Ray's life. They press Colin for basic facts -- where Ray lives, who his family is, what he does when not on the road -- and their unease mounts when Colin cannot answer. On Colin's birthday Ray initially refuses to acknowledge the day: he declines to buy a gift and refuses to join in any celebration. His aloofness angers Colin and unsettles the household. The following morning, however, Ray and the bikers stage an elaborate surprise: they organize a roadside party and set out on a spontaneous trip in Colin's honor. The club gathers around, presents a makeshift celebration on the highway shoulder and then rides on a day-long route with Colin as the ostensible guest of honor. Colin experiences the biker gang's camaraderie and spectacle, and the event deepens his involvement with Ray and the crew.

Ray eventually agrees to meet Colin's parents in their home. The meeting turns confrontational almost immediately. Colin's mother, already frail from her illness and protective of her son, challenges Ray's treatment of Colin: she calls Ray "too mean" and objects to how little he shares about himself, demanding to know why Colin seems so diminished. Ray responds angrily; he tells her that her worldview is "backwards," a terse rebuke that escalates the situation. After the exchange, Ray walks out of the house and leaves the family to digest the confrontation. Colin's father stays behind, stunned but unable to bridge the gap between his son's relationship choices and his own worries.

Several weeks later, Colin's mother, who is terminally ill, dies from her illness. The household empties further; Colin faces the loss at home as the person who had been tending to her. In the immediate aftermath of the funeral period, Colin tries to maintain Ray's domestic routine. While cooking a meal for Ray one evening, Colin has an emotional breakdown; he becomes distracted and burns his hand on a hot pan handle or on the stove. He pulls his hand back in pain, swearing and crying, and drops the utensil. Ray, who witnesses the accident, moves in and tends to Colin's injured hand: he runs cold water over the burn and grips Colin's wrist to steady him. After helping to clean and dress the wound, Ray unexpectedly offers Colin his bed and invites him to join him there. The two lie down in the same bed for the first time, an intimate reversal of the established rule that Colin must sleep on the floor. They do not speak much; Colin is exhausted and Ray's hand rests on him. That night they share the bed.

The next morning Colin asks Ray whether they can sleep in the bed together more often. Ray refuses without hesitation, reasserting the boundaries of their negotiated roles. Colin then asks for a single day off from his submissive duties, requesting that they spend a day as a conventional couple free of formal dominance and obedience. Ray denies the request. Colin reacts by running out of the house in fury. He takes Ray's motorbike without permission, swinging a leg over it and starting it up, then rides into the night. He speeds along roads with the wind and grief in his face, taking turns and putting distance between himself and the life that now feels intolerable.

Colin returns to the house at first light. He finds Ray waiting, or Ray hears the bike outside and comes to the door; Ray watches as Colin, exhausted and raw, brings himself back into the space. Ray softens and agrees to the request he had denied before: he concedes to spend a day behaving like a normal couple without the explicit protocols that usually govern their interactions. They set out together. First they go to a cinema; they buy tickets, sit in the darkness, and let themselves be absorbed by a film, sharing popcorn and leaning back into ordinary closeness. After the screening they go to a restaurant, where they eat a meal seated beside each other at a table rather than in the more ritualized context of Ray's household. Later they run together in a park, removing helmets and jackets to feel unmarked by roles or expectations. In this public, ordinary setting Ray shows a different aspect of himself: he jokes easily, laughs openly, and behaves in unexpectedly kind, outgoing ways. The two of them slide down a grassy slope, chase one another, and at a quiet moment in the park they kiss for the first time in that softer register -- a kiss unmediated by commands or formalities.

After the reprieve, life returns to the established structure; Colin resumes his duties. Not long after the day off, however, Ray disappears without explanation. He leaves the house and does not answer Colin's calls, and Colin's attempts to find him -- going to the garages where the bikers hang out, waiting at likely road stops, calling friends in the club -- yield nothing. Ray seems entirely absent; his motorcycle is not parked where it usually is, and his phone rings unanswered. Colin becomes increasingly anxious, searching social media and the club's usual haunts, but Ray remains unreachable. Faced with this silence, Colin retreats back to the household he shares with his father, who has been present but less involved during the recent months. Colin resumes a more conventional routine under his father's roof: he prepares food, does domestic chores, and goes through days marked by the pall of his mother's loss and Ray's disappearance.

The film concludes with an epilogue that shows Colin at a point of tentative self-reassertion. He downloads and signs up for a dating app, filling in his profile and swiping through potential matches with the same desire for connection but also new caution. He enters into another BDSM-style relationship, but this time he approaches it differently: he establishes explicit rules for himself and for the arrangement beforehand, setting limits on what he will accept and what he needs. The final scenes show him engaging in that negotiated dynamic, this time as an agent who places boundaries on the relationship before entanglement, rather than as someone subsumed by someone else's commands. The film ends with Colin engaged in a new contractually framed power exchange, carrying forward the experience of his relationship with Ray but proceeding according to rules he has defined.

Simple Narrative Ending

The ending of Pillion is not explicitly detailed in the available information, but it revolves around Colin, a young man who enters a dominant/submissive relationship with Ray, a biker gang leader. As Colin becomes more entrenched in Ray's world, he begins to question whether this lifestyle truly suits him, longing for a more conventional relationship while navigating the complexities of his new role.

Expanded Narrative Ending

While specific details about the ending are not provided, let's explore the events leading up to it and key themes the movie might emphasize in its conclusion.

1. Introduction to Colin and Ray's World: The film begins with Colin, portrayed as a meek and unassuming parking garage attendant, who is introduced to Ray, the charismatic leader of a biker gang. Their initial encounter is pivotal, as Ray ignites Colin's curiosity and invites him into a world of BDSM and leather-clad bikers. This sets the stage for Colin's journey into Ray's mysterious and controlled environment.

2. Colin Enters Ray's Life: Colin is swept off his feet by Ray's enigmatic charm and is taken in as his submissive. As they embark on this dominant/submissive relationship, Colin is introduced to a world that challenges his previous life. From the initial meeting to the gradual integration into Ray's life, Colin finds himself in a whirlwind of experiences that thrill and unsettle him.

3. Exploration of BDSM Lifestyle: The film vividly depicts the world of BDSM, showcasing the rules, rituals, and emotional dynamics involved. Colin, despite initial reservations and lack of worldliness, shows enthusiasm for this new lifestyle. However, as he becomes more entrenched, he starts to question whether he has merely traded one restrictive life for another.

4. Colin's Inner Conflict: As Colin delves deeper into the BDSM world, he grapples with his desire for a more traditional relationship. He starts to crave emotional intimacy and connection beyond the confines of their arrangement. This sets the stage for an inner conflict, where Colin must decide between following his heart or conforming to Ray's expectations.

5. Ray's Perspective: Ray, portrayed as a mysterious and desired figure, is shown to be a complex character with his own motivations and emotions. Though he is depicted as unreadable and always getting what he wants, his actions suggest a certain level of attachment or interest in Colin. However, his intentions are not fully explored in the available information.

6. Potential Conclusion: Without explicit details, one can infer that the ending might involve Colin making a choice between embracing his new life fully or seeking a different path. The film may conclude with Colin either fully immersed in Ray's world, having found a sense of belonging, or deciding that this lifestyle is not for him, leading to a parting of ways. Either way, the ending would likely focus on Colin's personal growth and the challenges he faces in defining his identity.

Throughout the film, the narrative explores themes of identity, desire, and the complexities of human relationships, especially within non-traditional frameworks. The conclusion might highlight Colin's journey of self-discovery and his ultimate decision regarding his place in Ray's world.

There are no available details indicating that the movie titled Pillion (2025) has a post-credit scene. The search results mention post-credit scenes specifically for the film Superman (2025), but do not reference Pillion or any post-credits content related to it. Additionally, a 2025 movie called Drop is confirmed to have no post-credits scene, but there is no such confirmation or information about Pillion.

Therefore, based on current information, Pillion (2025) does not have a known post-credit scene.

Colin and Ray enter into a BDSM relationship where Ray, the biker gang leader, takes Colin on as his submissive. Their relationship is characterized by power dynamics typical of Dominant/submissive roles, with Ray setting rules such as Colin sleeping at the foot of his bed. Colin, however, desires a more conventional romantic relationship beyond the BDSM arrangement.

After meeting Ray, Colin is uprooted from his dreary suburban life and introduced to a community of kinky, queer bikers. He becomes involved in Ray's world of rules and mysteries, exploring his role as a 24/7 submissive and questioning whether this new life is truly his calling or another form of suffocation.

Supporting characters include Colin's parents, played by Douglas Hodge and Lesley Sharp, and other figures such as Kevin (Jake Shears) and Darren (Anthony Welsh). These characters help frame Colin's background and social environment, contrasting with the biker community and influencing his journey into the BDSM relationship with Ray.

The film features explicit scenes including orgy scenes that are described as fun and playful. These scenes were carefully choreographed by an intimacy coordinator to manage the complexity and number of participants, highlighting the raw and unorthodox nature of Colin and Ray's sexual relationship.

Ray is initially portrayed as an enigmatic and imposing biker gang leader who dominates the relationship. As the film progresses, hints suggest that Ray opens up more emotionally, revealing layers beyond his tough exterior, especially through his interactions and evolving relationship with Colin.

The movie Pillion (2025) is not family friendly and is generally inappropriate for children or sensitive viewers. It is a graphic, sexually explicit film with frequent scenes involving nudity, genital exposure, and sexual content that borders on NC-17 in intensity. The film includes:

• Graphic sexual scenes that are explicit and frequent
• Nudity, including full frontal nudity
• Themes of sexual identity, power dynamics, and BDSM elements
• Moments that could be upsetting due to intense emotional reckoning and sexual content

Though it handles these themes with emotional depth and occasional humor, Pillion is explicitly described as a work that is "borderline obscene" and "not a cozy movie night with your family". It explores adult topics such as internal longing, sexual identity, and complex relationships in a mature and raw manner. Therefore, it is advised to avoid viewing this film with children or in contexts where audience sensitivity is a consideration.