Rarely does music seem so far removed from the images it accompanies and, at the same time, so inevitable for them. This is the feeling that the Gymnopédie No. 1 by Erik Satie to the movie Pillion, interpreted with errors, inaccuracies, and out of time by the biker dominates and protagonist of the film, Ray (actor Alexander Skarsgård), when he is overheard by the other protagonist, the submissive, Col (Harry Melling). Harry Lighton has made a film that shows a masochistic relationship from an angle we are not accustomed to. He could have opted for a dense, unsettling, or explicitly sexual soundtrack. Instead, he chooses one of the most restrained and silent works in music history. The decision is not accidental. Satie does not accompany the narrative, but transforms it.In ancient Greece, the gymnopédies were ritual festivals of naked youths, celebrated mainly in Sparta in honor of Apollo and in representation of discipline, beauty, strength, and harmony between body and spirit. More than a celebration of nudity, the body was conceived as a space for moral formation and collective cohesion. In Pillion, available on Filmin, homoeroticism is conveyed through the codes of BDSM relationships, and although they may seem totally removed from any harmony, from any moral formation, this is not the case.