Urchin
Should anyone be saved?
My first film of 2025 Cannes Film Festival — and what a way to start. Urchin marks the directorial debut of Harris Dickinson, known to many for Babygirl, but for me, it all began with the incredibly grounded and heartfelt Scrapper back on 2023. To see his first feature-length directorial project premiere in Un Certain Regard is exciting and genuinely moving. A young actor stepping behind the camera and bringing a story like this to one of the most prestigious stages in cinema? No shit!
Urchin dives into the lowest depths of society, focusing on those at the absolute bottom. The story follows Michael (played by Frank Dillane), a man living on the edge, scraping by in a world that’s brutal and utterly indifferent to him. After a tense incident, Michael ends up in prison. But upon release, he tries to rebuild his life — entering rehab programs, seeking out work, even attempting to reconnect with people. At first, it looks like a film about survival — but it’s also about the often self-destructive cycles that come with it.
At first glance, Urchin might seem like another tale of poverty and redemption. But Dickinson steers away from that cliché. As the story unfolds, it leans into more nuanced territory — questioning whether everyone truly wants to be “saved,” and whether such salvation is even possible for some. Michael, though street-smart, actively sabotages his own chances at a better life. And that’s the real heartbreak of the film.
Interestingly, it’s often the supporting characters who carry the film’s deeper societal commentary — not Michael himself. Through them, we see different shades of what it means to be working class or living on the margins, each person just trying to get by in their own way. Dickinson doesn’t offer a neat resolution or a clean moral takeaway. Instead, he poses a question: what does survival really mean — and how would each survivor describe it in their own words?
From a technical standpoint, the film has its rough edges. There are noticeable glitches — some background acting that breaks immersion, a couple of clunky shot choices, even a blink-and-you’ll-miss-it moment when an actress clearly looks into the camera. But honestly? For a debut, it’s forgivable. Dickinson is just 28, and for someone so early in his career to take on a project this raw and to bring it all the way to Cannes — that deserves nothing but respect.
If I have one major gripe, it’s the ending. After such a stark ride, Dickinson opts for a more abstract, metaphorical finale. Personally, I would have preferred something more grounded — in line with the honesty of the rest of the film. A real, messy, emotionally truthful ending rather than something poetic and airy.
Still, Urchin deserves your attention — and your support. Harris Dickinson shows real promise not just as a performer, but as a filmmaker unafraid to get his hands dirty. I’m absolutely rooting for whatever comes next.
7/10
