‘Urchin’ depicts a life on the margins in all its desperation and occasional release

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Harris Dickinson’s first film as a director, “Urchin,” immediately establishes a sense of distance from its main character. The film opens with a shot of Mike (Frank Dillane) waking up on a grimy London street, disturbed by a street preacher. He sits up, tells the woman to be quiet, gathers his things, and starts begging for money. He doesn’t have much success, as most people simply walk by and ignore him.

You likely see people like Mike – individuals experiencing homelessness – almost daily, especially in cities. The film “Urchin” challenges viewers to truly *see* one such person, a man battling addiction, and spend ninety minutes trying to understand his journey and struggles. Writer-director Dickinson intentionally avoids broad political commentary, believing that focusing on Mike’s individual experience is the most impactful way to prompt reflection on systemic failures and how they affect vulnerable people.

Dickinson is an independent actor who’s gained attention for taking on challenging roles. He recently played a key part in the film “Babygirl,” featuring Nicole Kidman, and will soon portray John Lennon in an upcoming series of movies about the Beatles. Beyond acting, Dickinson is dedicated to helping people experiencing homelessness in his London community. This commitment inspired him to create “Urchin,” a project born from a desire to deeply understand and shed light on the issues of poverty and addiction.

The director’s personal connection to the story gives the film a realistic and insightful portrayal of its main character, almost like a documentary. It’s clear he admires filmmakers like Ken Loach, known for his socially conscious and realistic dramas about ordinary people. There are also moments that recall the style of Jonathan Glazer. It’s a beautifully made film, demonstrating not only a strong visual sense but also a genuine empathy for its subject.

Movies

Ari Aster’s new film ‘Eddington,’ starring Joaquin Phoenix and Pedro Pascal, is turning heads at the Cannes Film Festival, along with a promising directorial debut from actor Harris Dickinson with his film ‘Babygirl’.

Mike has a complex personality – he can be charming and approachable, but he’s also self-centered and habitually dishonest. Early in the film, he gets into a fight with another drug user (played by Dickinson), correctly accusing the man of stealing his wallet. A kind passerby (Okezie Morro) intervenes, calms Mike down, and offers to buy him a meal. While walking to get food and having a seemingly meaningful conversation, Mike unexpectedly attacks the stranger, knocking him unconscious and then robbing him of his wallet and watch.

The scene is startling, demonstrating that the show isn’t trying to make us feel sorry for the character Mike, or portray him as a hero. However, actor Frank Dillane delivers such a compelling performance, revealing the vulnerability behind Mike’s erratic behavior, that we find ourselves surprisingly drawn to him and hoping he succeeds despite the challenges he faces.

So, most of the movie follows Mike really trying to turn his life around. He’s just getting out of jail after some trouble, and he’s got a probation officer, a place to stay at a hostel, and a job cooking at this rundown hotel. It’s cool to see him trying – he’s even listening to self-help tapes! He’ll go out with his coworkers to karaoke and totally nails Atomic Kitten’s “Whole Again” – and he doesn’t even seem embarrassed about it, which is awesome. He’s really making an effort to stay clean and comes across as this quirky, likeable guy, at least for a while.

Despite moments of calm, Dillane portrays a subtle underlying anxiety, hinting at how fragile Mike’s support network truly is. Mike talks about wanting to start a limousine business, but doesn’t take any steps to actually make it happen – it seems more like a way to deflect questions about his plans. He begins a hopeful relationship with a free-spirited woman named Megan who lives in a caravan, but it ultimately leads to complications that feel almost unavoidable. Unlike inspiring stories of overcoming hardship, “Urchin” doesn’t offer a simple, happy ending.

Throughout “Urchin,” director Dickinson includes some confusing and dreamlike scenes that hint at difficult experiences from the main character’s past. While these moments aren’t essential to the film, Dickinson demonstrates strong filmmaking skills overall, making them forgivable. “Urchin” marks him as a promising storyteller who isn’t afraid to tackle complex issues and acknowledge that simple solutions don’t always exist.

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2025-10-09 13:37