Urchin

"You're going to be just fine."

2025 1h 39m EN

👍

6.8

SOLID

★6.8TMDB · 66

Drama

Synopsis

Spoiler shield

Mike, a rough sleeper in London, is trapped in a cycle of self-destruction as he attempts to turn his life around. Along the way, he encounters unexpected chances for a fresh start.

“You're going to be just fine.”

WhatsApp X Facebook Telegram

Where to watch · US

HuluSubscription

Amazon VideoRent

Apple TV StoreRent

Google Play MoviesRent

Google Play MoviesBuy

YouTubeBuy

Fandango At HomeBuy

Cast

Frank Dillane
Mike
Megan Northam
Andrea
Karyna Khymchuk
Ramona
Shonagh Marie
Chanelle
Amr Waked
Franco
Claudia Jones
Religious Leader
Shahzad Ali
Waiter
Michael Quartey
Dawson

Credits

Behind the camera

Director: Harris Dickinson
Writers: Harris Dickinson
Languages: English, Ukrainian
Countries: United Kingdom, United States of America

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

ERA

Did you know

Released last year.

MoodPlayr · trivia#01

2 / 8

WORLD

Did you know

Dialogue crosses 2 languages: English, Ukrainian.

MoodPlayr · trivia#02

3 / 8

WORLD

Did you know

International production across 2 countries: United Kingdom, United States of America.

MoodPlayr · trivia#03

4 / 8

DIRECTOR

Did you know

Directed by Harris Dickinson, shot by Josée Deshaies. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Original score by Alan Myson. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#05

6 / 8

DIRECTOR

Did you know

Editor Rafael Torres Calderón shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#06

7 / 8

CAST

Did you know

Frank Dillane and Megan Northam and Karyna Khymchuk carry the top of the cast.

MoodPlayr · trivia#07

8 / 8

FACT

Did you know

Marketing tagline: "You're going to be just fine.".

MoodPlayr · trivia#08

Cinephile deep dive

The take

Harris Dickinson directs. Josée Deshaies behind the camera. Alan Myson scores. Rafael Torres Calderón cuts. Runs lean at under 100 minutes. Produced in United Kingdom, United States of America. Dialogue in English, Ukrainian.

Trivia

Things worth knowing

1Released last year.
2Dialogue crosses 2 languages: English, Ukrainian.
3International production across 2 countries: United Kingdom, United States of America.
4Directed by Harris Dickinson, shot by Josée Deshaies. Note their partnership — DPs and directors often return to each other across a career.
5Original score by Alan Myson. Worth a dedicated listen after — most great films lose half their impact without the score.
6Editor Rafael Torres Calderón shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
7Frank Dillane and Megan Northam and Karyna Khymchuk carry the top of the cast.
8Marketing tagline: "You're going to be just fine.".
9IMDB entry: tt35715953 — still the authoritative cross-reference for credits and trivia.
10Only 66 TMDB ratings — you're getting ahead of the curve on this one.

The technical file

Cinematography: Josée Deshaies
Original score: Alan Myson
Editing: Rafael Torres Calderón
Production design: Anna Rhodes
Costume design: Cobbie Yates
Makeup / hair: Lisa Mustafa
VFX supervisor: Agnes Asplund
Sound: George Elliott
Stunt coordinator: Rob Cooper
Runtime: 99 min · 1h 39m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Original language: EN
Certification (US): NR
IMDB: Urchin (2025)

Also by

Harris Dickinson

2003
2021 · ★ 5.8

Stills · wallpapers

Selected frames

Full-resolution frames — open one to save it as a wallpaper.

Wallpaper

Trailers & featurettes

Watch the pieces

Community reviews

What people are saying

CinemaSerf2025-11-07
“Mike” (Frank Dillane) isn’t a bad man, he’s just an addict, down on his luck and living on the streets of an unforgiving London. The social services manage to find him a room in an hostel and even a job washing dishes at an hotel restaurant, but his path to the straight and narrow is anything but yellow-bricked and with temptation never far away and his frustrations made worse by his new relationship with a colleague who only seems to manage to make matters worse, things are not looking rosy. What might he do to escape this self-perpetuating cycle? Now this is not a film that offers us solutions. Nor does it move along sharpishly. It is more of a fly-on-the-wall observation of a young, vaguely charismatic, man who is trapped in a maelstrom of his own, and of a complicit society’s, making. Whilst under the protection of some sort of blanket, he has a chance. When left to his own devices, well he even bites one of the hands that tries to feed him - and that leads to prison and then a reconciliation meeting with his victim that seems to further emphasise his lack of direction. It’s not a great film, it does meander a bit too often and it certainly lacks focus at times, but somehow that can work to present us with something quite grittily plausible about life amongst the homeless in a big city where they are considered probably as much of a nuisance as the pigeons - only cared for less. Auteur Harris Dickinson has form in this space with “Postcards from London” (2018) in that he is not averse to exposing an underbelly of society that isn’t always the easiest to absorb, and here he uses a solid effort from Dillane to illuminate something of a sub-culture that most of us cross the road to avoid. He didn’t cast himself in the lead role, though he does feature sparingly with a big snake (not an euphemism) and so he has left himself the opportunity to create better from behind the camera and what we have here is, I think, something quite honest. Low budget and a bit rough around the edges from a production perspective, it is, but coupled with a carefully selected soundtrack it works better than I was expecting.
Brent Marchant2025-12-30
★ 3/10
Homelessness and drug addiction are serious social and public health issues that have no easy answers, especially for those experiencing them. Moreover, despite compassion-based government and charitable programs aimed at addressing these problems, many in society at large are unsympathetic to those seeking to overcome these circumstances, making their recovery doubly difficult. Winning over supporters to these causes can thus be an uphill battle, but one way of doing so is depicting the harrowing challenges that the afflicted undergo on a daily basis. And this is where the directorial debut from actor Harris Dickinson could have made an impact, but, sadly, it misses the mark. The film tells the story of Mike (Frank Dillane), a recovering addict who did time for assaulting and robbing a would-be Samaritan, chronicling his journey to rebuild his life after being released from prison. However, the unfocused narrative meanders wildly, coming across like a series of disjointed, randomly strung together events lacking any discernible sense of direction. What’s more, there’s virtually no back story, and the protagonist’s character development is nearly nonexistent. In fact, one could contend that it’s hard to see how Mike’s persona is truthfully a bona fide reflection of this offering’s title. Consequently, because viewers have little awareness of who they’re dealing with, it’s almost impossible for audience members to care much about what ultimately happens to this character, thereby defeating the aim of generating support for his redemption or the cause of his peers. On top of that, several surreal, impressionistic sequences muddy the waters even further, providing no additional clarity from either a literal or symbolic standpoint. Given the stunning lack of coherence or any meaningful attempt at making a case for these causes, I’m truly amazed at the overwhelmingly positive response the picture has received, including a surprising number of accolades from film festivals and critics’ organizations. “Urchin” has been named one of the Top 10 Independent Films of 2025 by the National Board of Review, and it captured two wins on four nominations at the 2025 Cannes Film Festival, including a somewhat baffling best actor award for Dillane (it’s a good performance, but one worthy of top honors?). Every year it seems there are a handful of releases that undeservingly receive mind-boggling degrees of praise, and, in my view, this is definitely one of them for 2025. It’s equally disappointing that the film has failed to do more for spotlighting the issues at the core of its central premise. It never hurts to lend a helping hand, but it can be difficult to do so when one doesn’t have a clearer picture of how to proceed in the first place.

Production companies