New Film “Urchin” Explores Homelessness Through Mike’s Journey
Arris Dickinson makes his striking debut as both writer and director with “Urchin,” a film that thoughtfully delves into the topic of homelessness. It’s a fascinating mixture of humor, mystical elements, and surreal sequences, all stitched together with a poignant look at the complexities of human connection—or, at times, the lack thereof.
Frank Dylan stars as Mike, a man who spent five years living on the streets of London. Dylan’s performance is electric; he embodies the rawness of someone who has been shaped by years of neglect. His portrayal captures the desperation behind his requests for help, especially in a world where fewer people seem to carry cash after the pandemic. There’s something about his open smile that hints at a survival instinct. He’s not conventionally charming—there’s something slippery and unpredictable about him—but his intelligence and vulnerability shine through.
Among the people Mike encounters is Nathan, who makes a brief appearance and ends up stealing money from him. This incident adds layers to Mike’s turbulent life, which is already rife with challenges, including violent encounters. Interestingly, Nathan also speaks about a plan to launch a luxury driving business, adding an odd twist to the street dynamics.
Yet, what looms over the narrative is a restorative justice session intended to help Mike make amends. Instead of offering healing, it becomes a painful reminder of the emotional expectations he struggles to meet. Dickinson skillfully shows Mike’s discomfort with the heightened emotional awareness that society now demands. It’s a moment filled with missed opportunities, as he fails to engage with the session leader in a meaningful way and neglects to express remorse.
Despite this, there’s a flicker of recognition in Mike; he senses that he hasn’t lived up to his own moral standards. His job at the Hotel Kitchen is on shaky ground, raising questions about whether it will lead to a better future. He has supportive friends in both waste collection and the hotel industry, but one of those connections leads him down a darker path, introducing him to ketamine. Drug addiction clouds any hopes he might find solace.
Mike’s reluctance to confront his past is evident when he encounters familiar faces. He flinches at the sight of Nathan in a charity shop; remnants of his former life seem to hang around like a pervasive shadow. The restorative justice session feels like a trap he can’t escape from, adding to the weight of his memories.
Visions of a woman, possibly his mother, and a hauntingly beautiful cave from his past also linger in his mind—echoes of a complicated history and an uncertain future. These surreal moments underscore a narrative that offers no easy answers or resolutions.
“Urchin” premiered at the Cannes Film Festival, marking an impressive entry into the cinematic exploration of social issues.
