‘Urchin’ Review: Harris Dickinson’s Fine Directorial Debut Bridges Social Realism and Surrealism

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Exploring an actor’s directorial debut offers valuable insights into their artistic identity, often contrasting with their on-screen persona. This is clearly evident in Harris Dickinson’s first directorial effort, “Urchin.” Despite his young career, his choice of projects – unconventional independent and arthouse films instead of lucrative franchise roles – is reflected in this gritty, insightful film about life on the streets of London. The movie sensitively tackles the nationwide homelessness crisis with a subtle, genuine approach. Focusing on a young man’s struggles bouncing between prison, hostels, and the streets, “Urchin” doesn’t aim to represent every disenfranchised individual, but it offers a powerful, human portrayal that carries political weight.

28-year-old Dickinson is part of a new wave of British filmmakers who have grown up under the strict austerity measures implemented by the U.K. government since the 2010s, which resulted in reduced welfare and social services. This generation tends to hold a less forgiving perspective, and they seem drawn to carry on the legacy of the 88-year-old Ken Loach, who is widely recognized as the leading figure in British cinema’s social-realist protest films. The film “Urchin”, much like Laura Carreira’s recent work “On Falling”, exhibits the influence of Loach’s straightforward, unassuming style and his discontent with the world he observes. It is therefore fitting that the film premiered at Cannes, a place where Loach often showcases his works, in the Un Certain Regard section. Independent distributors should take note, not just because of the director’s fame, but also due to the quality and relevance of the film itself.

47 Meters Down: Uncaged departs from the traditional formula of gritty Loachian dramas by incorporating brief moments of vivid surrealism, offering a glimpse into the disoriented state of mind of character Mike (Frank Dillane). This is achieved through colorful digital effects and images that seem out of place yet captivatingly incongruous, such as a cavernous forest and a silent gothic abbey. These scenes starkly contrast with the gritty setting of East London, serving not just as aesthetic embellishments, but symbolizing the mental breakdowns and memory lapses that keep Mike trapped in a repetitive struggle on society’s outskirts. Some viewers may find these unconventional elements divisive, yet they play a crucial role in conveying Mike’s psychological turmoil.

Despite my character, Dickinson, being a secondary figure and an acquaintance of sorts for Mike – stepping in after another actor dropped out – I graciously ceded the main role to Dillane, and I must add, he had a keen sense for casting choices. The multi-talented actor known for “Harry Potter” and “Fear the Walking Dead,” son of Stephen, delivers an exceptional performance in his largest screen role yet, portraying Mike with a captivating blend of charisma that draws people to him, and self-destructive unpredictability that pushes them away. This duality is vividly demonstrated in a lengthy scene where he manipulates Simon, a sympathetic middle-class professional who treats him as an equal, only to violently attack him and steal his wallet during their conversation.

After serving his seven-month sentence in prison, not the first time, the character finds himself incarcerated following an assault. This period is sandwiched between one of Dickinson’s disorienting reality shifts. Upon release, he is now sober and resolute about staying clean. He secures a job as a commis chef at a budget hotel and rents a room from no-nonsense social worker Nadia (Shonagh Marie). She frankly informs him that, given his able-bodied status, white race, criminal background, and history of violence, he is not a priority for the system.

At one point, Mike manages to keep things going, taking in motivational self-help audio recordings and forming connections with positive colleagues at the hotel – leading to an exuberant, slightly intoxicated rendition of “Whole Again” by Atomic Kitten during a karaoke session. However, his unpredictable tendencies eventually take over, pushing him towards a new job as a litter collector. His casual bond with nomadic immigrant Andrea (Megan Northam) starts off innocently, but turns sour when she unwittingly helps him relapse by providing him with ketamine – a habit that only grows stronger with each subsequent dose.

The script for “Dickinson” masterfully moves between light-hearted humor and intense anxiety, refusing to be neatly structured. It primarily relies on one character’s unreliable mind as its driving force, portraying the uncertain journey many face when their support systems gradually vanish. Shot brilliantly by DP Josée Deshaies with a pace that is both energetic and sunny, yet still allowing for relaxed conversations typical of an aimless, unhurried lifestyle, “Urchin” subtly suggests a brighter future if the character ever manages to escape his despair. However, Dickinson’s powerful debut does not make any false promises about a simple resolution.

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2025-05-19 16:18