The homeless crisis in the UK, especially in London, is sadly reaching new heights. During the day, the capital is buzzing with business people, double-decker buses and way-too-slow tourists, but when the night falls and everyone goes home, that's when the tents, sleeping bags and mattresses come out. The social separation is crystal clear, and so is the government's failure to tackle homelessness. With Urchin, first-time director Harris Dickinson (Scrapper) delivers a sharp and thought-provoking critique of flawed policies, but most importantly, an inspiring, complex, and engrossing piece of realism.
You first encounter Mike (Frank Dillane, In the Heart of the Sea) when he's sleeping rough on the streets of London. After five years without a place to call home, he's now daily begging for money, passing out in alleyways and asking about the whereabouts of Nathan (Dickinson), who supposedly stole his wallet. When Mike eventually finds Nathan and violently confronts him, it seems that the former can't control his aggressive impulses. This becomes clear as day when he beats up a good Samaritan, Simon (Okezie Morro), who helped him get a meal, almost to death. When this desperate, violent act leads to an eight-month prison stint, the question remains whether Mike can stay on track and make it after being released.
At first, it would appear that he can finally turn a leaf on this dark chapter as he finds shelter in a hostel and works as a chef in a nearby hotel. However, while he is doing everything he can to make a better life for himself, including cutting out the booze and listening to meditation tapes, his self-destructive thoughts and behaviour always gain the upper hand. One moment, he might be friendly and open towards other people. Innthe next scene, his volatile personality rears its head, resulting in Mike becoming as unstable, dangerous and unpredictable as ever.
It is the erratic and temperamental behaviour that makes the lead such an interesting and compelling character. Well matched by Dillane's terrific, tense performance, you truly feel what Mike is going through. Some scenes may be a harsh watch, especially when the lead reaches new lows, but you still want to continue the (too long) journey with him, as the sliver of hope and Mike's occasional positive thinking make you believe something good awaits him. The close emotional proximity you feel throughout most of the feature ensures that Urchin is a gripping debut.
The social and street-level realisms are truly present, especially at the beginning, but as the story progresses, this feature becomes increasingly absurdist. That is mainly because of Mike's increasingly erratic episodes, but also because of the changing cinematography. the work of cinematographer Josée Deshaies' (The Beast) starts as a much more neutral and true-to-life depiction of living on the streets and its challenges, but slowly changes into a something much more mind-bending and trippy (just like the substances Mike uses). It's during those scenes that Urchin loses some of its power and authenticity, as the gritty, raw, and harsh portrayal of real-life moments slips into the background.
While the story of a homeless man battling both societal boundaries and his own restless mind and behaviour has been told many times, Dickinson gives it a fresh and empathetic spin. While the surreal aspects might not work completely, Dillane's electrifying acting and the director's confident and passionate filmmaking allow you to fully immerse yourself in this fiery, feisty, and bold directional debut.
Urchin is out in UK cinemas, courtesy of Picturehouse Entertainment, on the 3 October.
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