Actor Harris Dickinson Shines as Director in Cannes Debut ‘Urchin’

The longstanding jest about actors in Hollywood is their oft-voiced desire to direct. This aspiration became a well-worn joke because actors’ attempts to transition into filmmaking have often ended in failure. Cannes Film Festival has seen multiple instances of actors faltering in their directorial endeavors, from Sean Penn’s excessive self-confidence with ‘The Last Face’ to the unwanted ostentation of Ryan Gosling’s ‘Lost River’. Therefore, when the news broke that up-and-coming 28-year-old actor Harris Dickinson was set to introduce his directorial debut, ‘Urchin’, at Cannes, there was an instinctive sense of scepticism.

Anticipation for the film, starring Frank Dillane—the son of Stephen Dillane, familiar to ‘Game of Thrones’ fans—also piqued with the revelation of its premise. Dillane portrays a homeless man in London, grappling with the daily challenges of survival and securing a foothold in life. Dickinson, despite his relative inexperience, has already demonstrated good judgment in his acting career, which served to dispel some prior reservations about his directorial debut. Nevertheless, initial uncertainty lingered.

However, any apprehension was quickly dissipated when ‘Urchin’ premiered at Cannes in the Un Certain Regard section on May 17. Deftly directed and well-considered, ‘Urchin’ marked the emergence of Dickinson as a gifted filmmaker. His hand at scripting was also visible, and despite a minor role in front of the camera his primary strength lay in steering the narrative from behind the scenes.

In ‘Urchin’, Dillane embodies Mike, a young man on the cusp of adulthood, caught up in the harsh realities of homelessness. His portrayal suggests a potential substance abuse issue, yet his character’s lucidity indicates a person at his core who’s clever and appealing, but struggling to stand tall midst adversity. A brutal robbery lands Mike in prison, and on release, he commits to reclaiming control over his life, now drug-free.

As the film unravels, Dickinson skillfully avoids the predictable narrative conventions often found in such gritty stories. The director brings an unexpected calmness, coupled with an intimate understanding of his subject matter, allowing for a refreshing, unpredictable storyline in ‘Urchin’. He even dares to explore artistic abstraction, providing brief glimpses into Mike’s internal struggles, a journey through a mind in conflict.

This cinematic expression of Mike’s struggles is meshed with realistic elements, likely influenced by directors Sean Baker and Mike Leigh. We follow Mike, often awash in his world, forming fleeting bonds with others he encounters – largely coworkers providing temporary companionship. Yet, he never escapes from the persistent torment of his addiction and the restlessness it brings.

Dillane delivers a meticulously crafted portrayal of Mike, maintaining a delicate balance of eliciting sympathy while revealing his character’s reckless and egocentric tendencies. His portrayal is a well-balanced representation of addiction, capturing the wide spectrum of its influence and traits. Viewing ‘Urchin’, one does not perceive the patronizing gaze of an artist exploiting poverty; instead, there’s a distinct lack of condescension that reflects Dickinson’s empathy as a filmmaker.

Indeed, Dickinson’s youth and fame belie his compassionate filmmaking approach. Although he falls prey to some indie clichés, such as using sparklers as a symbol of youthful exuberance, these minor transgressions don’t derail the film’s trajectory. Rather, they underline the excitement around Dickinson’s debut and the promise of what he may bring to the cinematic landscape in the future.