Harris Dickinson’s Urchin Is a Confident and Compassionate Directorial Debut

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Many first-time filmmakers make a splash with ambitious, over-the-top projects, hoping to immediately capture an audience. But Harris Dickinson’s debut film, *Urchin*, takes a different approach. Dickinson, a talented English actor known for his roles in films like *Beach Rats* and *Babygirl*, presents a quiet, understated story. *Urchin* follows an addict struggling to survive on the streets of London, and its power lies in what it *doesn’t* include—no dramatic turning points, shocking moments, or explanations of his past. The film simply places us alongside him, experiencing his present reality and the often-difficult emotions – or lack thereof – that come with it. This creates a raw, unsettling, and deeply immersive experience.

The film centers around Mike, played with raw honesty by Frank Dillane (Stephen Dillane’s son). We first see him waking up disoriented on the street, looking unkempt and in need of a wash. The film’s title, *Urchin*, is fitting – Mike’s appearance and life on the streets evoke images of Dickensian poverty. He accepts this is as good as life will get, living entirely in the present with no expectation of a different future.

Mike finds a backpack hidden near a dumpster and later carefully arranges cardboard to make a bed. He panhandles, switching between angry glares and charming smiles. Another addict, Nathan, robs him, leading to a fight. A kind stranger steps in to stop them and offers to buy Mike food. Surprisingly, Mike then attacks the stranger and steals his watch before running away.

Mike lands in jail, and after his release, he seems determined to turn his life around. He finds a place at a hostel and buys some clothes at a thrift store, including surprisingly stylish reptile loafers that give him a bit of a rockstar edge. He gets a job as a cook at a rundown hotel where he’s well-liked, but it doesn’t last. He finds another, less desirable job and meets Megan Northam, a free-spirited woman who is drawn to him. It’s easy to see why – when he’s sober, Mike is gentle and observant, making people want to care for him. However, he can also be unkind, selfish, and controlling. It’s unclear if this is who he truly is, or simply a result of his addiction. The story leaves that question unanswered.

“Urchin” feels both assured and easygoing. Writer and director Dickinson avoids dwelling on the harsher realities of addiction, instead adding moments of dreamlike beauty, and appropriately leaves the ending open-ended – because addiction doesn’t truly *end*, as the saying “one day at a time” reflects. The film focuses on the ongoing struggle, offering a glimpse into a life rather than a neat story of recovery. Importantly, both Dickinson and actor Dillane portray Mike as a person, not just a symbol of addiction. Even at his lowest, Mike moves with a natural grace, suggesting an underlying comfort with his physicality. His internal struggles are what drive both his pain and his attempts to escape it. “Urchin” invites us to spend time with him, but ultimately acknowledges that his journey is his own, continuing long after the credits roll. We’re left with a complex mix of relief and sadness as we say goodbye.

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2025-10-10 23:06