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There is not enough caution when we hear an actor is moving to the director’s chair. It may seem like an easy and obvious transition for some and therefore should be emt with encouragement. However far too many performers make the movie and forget to bring their own voice. An actor who has had a long career may bring less originality and more their impressive resume of directors. Their films can feel like products of having too much free time on set observing other’s films and regurgitating them in their own process. But what about the actors who are not only in the earlier stages of their career but also a sudden burst of success. Perhaps this could be more troublesome, unless that actor has already had years and years of creative vision just waiting at the bay. Harris Dickinson might not be the biggest and latest household name, but with his sharp looks, calm delivery as well as several if you’ve seen them you love them gems like “Beach Rats” and “The Iron Claw” not to mention two provocative performances in “The Triangle of Sadness” and “Baby Girl,” he has quickly become a new fasciation for many enjoying watching his rise alongside of him. He is the kind of new success that an audience member can feel and say “I was there from the start” or maybe they just arrived when he became another Film twitter’s White boy of the month. A label that can seem crass and infantile but bears its own perks. One of them is that people are curious to see what you do next and your quickly rising fan base is their for wherever your journey takes you. But for Dickinson this could all be noise and instead of diving head first into the chaos he channels a quieter but no less aggressive energy putting it towards creativity outside of the masses. It is the anti-Chalemet-ness of it all if you will. Dickinson a self-claimed filmmaker, says he has been making short films with his mates since he was a young London boy, always wanting to implement dramatic elements into skate videos (much to his friends dismay) so perhaps it makes sense that his guerilla DIY style has formed into his feature debut. URCHIN is the kind of film not born out of Hollywood but rather the firm belief that one’s creativity and voice matters especially when addressing concerns of a day to day experience. An unapologetic film that even in its most difficult moments never strays one inch away from its empathy. URCHIN is the kind of debut that is met with cheers and sarcastic groans solely out of envy that this already tall, charming, well versed performer is also so damn good behind the camera. Dickinson may be early in his career but he is certainly not one to be looking for his next move, but rather someone who is already to jump at his chance to be ten steps ahead. It is even better to see that URCHIN allows this and so much more. 

 Your lead character does not have to be likeable. It’s a boring myth that even the most Holylwood have films have broken time and time again. And yet it can still be jarring when we are introduced to someone who terrifies us. URCHIN however wants to play with two sides of a coin. As it introduces us to Mike (Frank Dillane) a homeless man suffering from addiction, we are given the ability not to just be worried for and of Mike, but also (hopefully) never loose sight of our empathy. Mike’s story is not one in a million it is a story of millions. Living in the streets of London Mike, fights for everything one because he has to, but also because he is choosing not to have the ability to engage any other way. It is a tough pill to swallow especially when in our hearts we only want to plea for Mike’s safety as we would for anyone living on the streets trying to survive. If there is any inspiration that URCHIN reaches out to it is clearly Mike Leigh’s ‘Naked,” another hard hitting (but phenomenal) tale of a man impossible to root for but one you cannot veer away from. Mike spends his days fighting, using and above all else tearing through the streets of London and anyone in his way. When he assaults a man trying to buy him food Mike ends up in prison for several months. Upon his release Mike is set up with a government funded aid program to help him obtain a job as a part time chef as well as a room and board in a local hostel. Dickinson presents this in his script (which he is the sole writer of) as both an aid but clearly an abrupt thrust back into the “real world” with the fears of life crashing down instantly. Dillane as Mike delivers a tremendous balance of excitement, curiosity and pure anxiety. His second chance at life is met with questions that border infantile “who do I go to next when things end” he asks looking for someone to constantly guide him through not just this process but everything that follows. Dickinson’s film may not be an overtly angry one but it is clear that the director is addressing his own deep frustrations with the lack of care from the up top that only blame the problem on the people long after the system has already been destroyed. Mike is not safe from his addiction or tendencies and the world will not stop for him, but Dickinson is still curious as to the lack of intent from people who could do more. 

URCHIN in its earlier moments may appear to be kinder and to some degree they are. Mike finds comfort in hanging out with a couple of co-workers going to Karaoke. The film is a big day for anyone who spent their high school years belting out Atomic Kitten songs. But Dillane always portrays Mike as someone with one foot off the ledge. Someone that everyone around him is afraid he will jump, or worse try to help him and wind up pushing him over themselves. But not everyone in Mike’s world knows of his situation calling for most of the heavy work especially in terms of sobriety to be fully on Mike. To anyone who battles the disease of addiction or relates to someone who has understands that the person themselves has to want to put in the work, but that doesn’t make it any easier to abide or watch as they struggle. We only learn small instances of Mike’s upbringing knowing he was adopted and that his mother will not allow him back home. His one friend Nathan (Harris Dickinson stepping in quickly) is still very much a part of the drug scene and Mike still circulating the same people places and things does his best to avoid. Dickinson with his cinematographer Josée Deshaies, always keeps the camera locked in on Mike even when the film takes some very exciting surrealist turns as we enter Mike’s psyche imagining himself as a part of the world quite literally. Because for Mike surviving and avoiding is too much work and even if he is not currently using it is easier to either isolate or dive in head first and hope for the best. 

That notion of just giving in is a terrifying but honest approach to the person Mike is and Dickinson’s film doesn’t necessarily feel like two halves but rather treats its earlier moments of sobriety as a step closer to relapse. When Mike begins to meet people he can slowly connect with (still keeping his recovery to himself) there is a gentle feeling over the film that to Dickinson’s credit always masks a frightening undertone. You want to trust Mike, Hell you may even want to celebrate him but when the film delivers many moments to prove otherwise it’s not about rooting against Mike but rather staying cautious. Mike is the kind of person who wants to literally be part of the world because it always him to absorb everyone holding them close because to be alone means to deal with the issues at hand. A night involving Mike out on the town in the wrong state of mind becomes its own horror show as he graduates from party animal to annoying town drunk all in a span of a few moments. Dickinson uses this moment not to show how recovery isn’t possible but rather that it’s built on a longer road than most people want to accept. 

URCHIN is not a call to arms film or even a wake up. The opposite in fact as it plays like a familiar tone in its ability to remind us that this is ongoing yet so many choose to respond with ignorance. It’s not to call people out for not doing more, most of that isn’t even in our court. But what does become all of ours to bear is the essence of more to be done to help those that even refuse to help themselves. It’s easier to write someone off and to some degree you wouldn’t be blamed in doing so. But as URCHIN finds itself fully entering Mike’s consciousness and lens point of the world it’s clear that there are souls who want to be found and those so lost that they wouldn’t even know where to look for help. When these moments occur it can be up to others to at least shine a light. Dickinson may be brutal at times in his approach and URCHIN doesn’t go easy on its viewer but if you’re making a first film and you choose an easy way through, don’t be surprised when people forget to show up for the next one. URCHIN never has this problem, and the next move Dickinson makes behind the camera will be anything but invisible. 

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URCHIN IS CURRENTLY PLAYING IN NEW YORK AND LOS ANGELES THEATERS. IT WILL BE RELEASED IN SELECTION THEATERS NATIONWIDE OCTOBER 17 FROM 1-2 SPECIAL