Dickinson portrays the unhoused in his thoughtful debut
Harris Dickinson (Babygirl) is in the director’s chair for the first time with Urchin, an intimate and at times surreal exploration of homelessness in the UK. Urchin comes at an interesting time in Dickinson’s career. As an actor, Dickinson is experiencing a surge in popularity and recognition (Triangle of Sadness, The Iron Claw, and will play John Lennon in Sam Mendes’ upcoming Beatles biopic), so switching gears to a directorial assignment (he also wrote Urchin’s screenplay and has a small supporting role in it) is an interesting choice. Nevertheless, Dickinson must have felt strongly about this particular project, since the care he shows towards the characters and the film’s technical aspects are unmistakable. Urchin is a timely character study about those left behind in society, an unflinching directorial debut, and a special showcase for its central star.
Told through the perspective of one struggling homeless young man, Mike (Frank Dillane, Fear the Walking Dead), Urchin portrays the cycle of rises and falls that the unhoused face in the search for stability and belonging. After a stint in jail for a violent altercation, Mike participates in a placement and rehabilitation program, but unfair expectations and lack of resources hinder his attempts to reach a comfortable place in society. In a few of the most troubling scenes, Urchin functions as a mirror, reflecting us as part of a mass ignoring those who struggle to break through the lowest barriers of modern day living due to drug addiction, mental illness, and financial straits. We take these low barriers for granted, like maintaining a steady job, having food to eat and shelter at night. Dillane’s performance is transformative, imbuing Mike with the carefree physicality and jittering anxiety of a lost soul unsure whether he desires intimate connections or solitude. We can only watch Mike from afar, though Dickinson also occasionally invites us deeper into Mike’s psyche to bridge the gap.
Dickinson’s direction is impressive, demonstrating a patience and a keen eye for framing his subjects in a manner that many first-time directors lack. Urchin’s script keeps us emotionally invested and worried for Mike from one moment to the next, even as he falls prey to the tragic domino effect after one positive interaction, or even one person trying to help him. Dickinson also inserts surreal breakaways that at first seem distant in Mike’s mind, but gradually become indiscernible from his real-world experiences. A mesmerizing molecular tunneling into a quiet cave with a giant rock formation protruding from the sandy floor, the silent stare of a homeless violinist, and the conceit of robed religious figures, all bring us deeper into Mike’s evolving psychology and his yearning for eternal solace. Urchin isn’t without a few humorous moments, since the film ultimately wishes to show humanity in all its emotional multitudes; a laugh can easily lead to a cry, and vice versa. Even though Urchin’s finale toes a fine line between hope and sadness, the first-time director takes us on a heartfelt journey to that emotional boundary.
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Urchin opens in limited theaters on Friday, October 17th.
