An actor moving from in front of the camera to behind the camera has been done countless times before, but there is something about Harris Dickinson’s feature-length directorial debut, Urchin, that feels as if you’re witnessing someone who has tapped into another part of their talent that has been begging to come out. Dickinson is already a rising star on the acting front who has impressed with turns in Triangle of Sadness, The Iron Claw, and Babygirl, and perhaps working with the directors on those films has shown him what is necessary to make a captivating piece of art. Only giving himself an uncredited cameo early in the film, Dickinson can put all of his focus into the film’s enthralling story while also pulling out one hell of a performance from Frank Dillane. All the right moves are made to make Urchin a must-watch while also solidifying that Dickinson has potential for even more as a filmmaker.
Urchin tells the story of a drug addict named Mike, someone who barely gets by day-to-day as he lives on the fringes of society. He has not had a proper roof over his head for five years, and his addiction only gives him interactions with people who will help feed it and never see him again. Much like many who live this lifestyle, Mike finds himself engaged in a violent encounter with Nathan (Dickinson), who steals his money, which forces Mike to engage similarly with a good Samaritan who has checked in on him. In a moment of pure desperation, Mike beats him up and steals his watch, something that lands him back behind bars. It’s a wake-up call for Mike that leads to potential rehabilitation and redemption, but as is the case with most addicts, that road isn’t easy, and Mike has to fight a desire to fall back into bad habits.
Dickinson, who also wrote the film’s screenplay, manages to craft Mike as someone who is tragic in one sense but likable in another, which makes the audience root for him to reach his full potential. Behind all of his drug-induced twitchy exchanges is deep-seated vulnerability and charm that hints at someone who utilized the best of himself before he fell victim to his addictions. Mike certainly has his issues, and they’re on full display, but there is a light in him that always seems to shine through.
There is a bravery in not trying to soften some of Mike’s rough edges. If you’re someone who has dealt with a loved one who has gone through addiction, you’ll know that sometimes that can betray you in the worst ways possible to satisfy their habit. Mike, at times, can be difficult to get behind, but Dickinson, and by extension Dillane, isn’t afraid to show how dire his life has become. It’s in that honest portrayal that even more truth is discovered. For all the bad that Mike does to himself and the people who try to help him, Dillane’s performance and Dickinson’s writing make the audience hopeful for Mike. It’s something that is so true to life when an addict is in your life. It’s hard to write them off completely because you see a glimmer of what they could be if they get a handle on their disease.
Stylistically, Dickinson showcases a confidence that is remarkable for a young filmmaker making his debut. Establishing shots are used to present the world through Mike’s eyes, and it proves to be a wise choice because it puts the audience immediately into his world. With the help of his Director of Photography, Josee Deshaies, Dickinson frames how the world exists around Mike. It becomes a beautiful and tragic marriage as the viewer is drawn into Mike’s world. In terms of the film’s storytelling, scenes are stitched together like a vignette that maintains the film’s chronological order but also surprises when there is a necessary time jump. None of it feels jarring, and Dickinson can maintain a stylistically confident flow, which also proves to be one of the film’s strengths.
Another strength of the film is that Dickinson isn’t afraid to show the dehumanizing world that Mike has found himself in. While this won’t be easy to watch for some, it’s necessary to show the severity of his situation as he finds himself in the dark reaches of homelessness, begging for spare change to just get by. What this also shows is how WE view people who find themselves in this situation. Mike is almost invisible to the world around him as he tries to get through his day-to-day. People walk by him, but they never truly see him, or they choose not to, because it’s easier for them to pretend like someone in Mike’s situation isn’t there. Urchin not only shines a light on someone in Mike’s position but also on people who could stand to be a bit more understanding and less judgmental of people who happen to be less fortunate.
Urchin could be an uncomfortable watch for some, but the ugly truths it presents resonate with such honesty that it’s hard to look away. There are many reasons that a Mike is created within our society. Whether it’s economic, mental, or some kind of other misfortune, it’s necessary to look into how we get here instead of tossing it away like a dirty secret. This is a human drama at its core, and it’s told with confidence by someone who has a very bright future ahead as a filmmaker who left this viewer highly anticipating what he’ll offer us next.
Urchin will debut in New York and Los Angeles on August 10, 2025, courtesy of 1-2 Special. The film will expand to additional markets in the following weeks.
All the right moves are made to make Urchin a must-watch while also solidifying that Dickinson has potential for even more as a filmmaker.
-
GVN Rating
Hello! My name is Gaius Bolling: movie, TV, and pop culture junkie! The industry has been in my veins since I was a kid and I have carried that on through adulthood. I attended Los Angeles Film Academy and participated in their screenwriting and editing program. From there, I have learned to hone my skills in the world of entertainment journalism. Some of my favorite genres include horror, action, and drama and I hope to share my love of all of this with you.
