In the ever-evolving landscape of British cinema, few stars have shone as brightly and as quickly as Harris Dickinson. Having cemented himself as one of the most exciting actors of his generation, Dickinson is now stepping into a new role—quite literally—by making his directorial and screenwriting debut with the feature film Urchin. This much-anticipated project has already begun to make waves, premiering in the prestigious Un Certain Regard section at the 2025 Cannes Film Festival and walking away with not one, but two notable awards. As Dickinson’s profile continues to rise, with rumors swirling about him potentially donning the mantle of James Bond and a high-profile turn as John Lennon in Sam Mendes’ upcoming Beatles biopics, Urchin marks a pivotal moment in his career.
For those who’ve been following Dickinson’s journey, his trajectory has been nothing short of remarkable. He first burst onto the Hollywood scene just eight years ago in Eliza Hittman’s gritty coming-of-age drama Beach Rats, a performance that immediately marked him as a talent to watch. Since then, he’s taken on a string of varied and acclaimed roles, from the fashion satire of Ruben Östlund’s Triangle of Sadness to the emotionally charged Babygirl, and the wrestling drama The Iron Claw. Each role has showcased a different facet of Dickinson’s range, and now, with Urchin, he’s stepping behind the camera to tell a story that is as raw as it is resonant.
Urchin tells the story of Mike, portrayed by Frank Dillane (best known for his work on Fear the Walking Dead), a rough sleeper in London who finds himself trapped in a cycle of self-destruction. The film doesn’t shy away from the harsh realities of life on the streets: after a theft leads to violence and a stint in prison, Mike attempts to break free from his circumstances. He gets sober, secures a room in a hostel, and lands a job in a hotel kitchen. And yet, as the film’s synopsis and trailer suggest, the patterns that have haunted him prove difficult to escape. The narrative is both intimate and absurd, exploring the strange rhythms of hardship and the resilience required to break free from them.
Joining Dillane in the cast are Megan Northam, Karyna Khymchuk, Shonagh Marie, and Amr Waked, with Dickinson himself taking on a small role. The ensemble brings a palpable authenticity to the film, grounding its more surreal moments with genuine emotion. The screenplay, also penned by Dickinson, is produced by his own company, Devisio Pictures, in partnership with Archie Pearch. This hands-on approach underscores Dickinson’s commitment to telling stories that matter to him, even as his career scales new heights.
The reception at Cannes was nothing short of remarkable. According to The Playlist, Urchin not only secured the Fédération Internationale de la Presse Cinématographique Prize, but Frank Dillane also took home the Best Actor award in the Un Certain Regard section—an impressive feat for a debut feature. The film’s success at the festival has positioned it as a strong contender for further accolades as awards season approaches. As Empire Magazine observed, Dickinson’s move to directing has been closely watched, and the critical acclaim Urchin has garnered suggests he’s more than up to the challenge.
For Dickinson, the choice to start with a project as intimate and unflinching as Urchin is telling. In many ways, it recalls the stripped-down realism of his breakout in Beach Rats, where small-scale storytelling yielded big emotional impact. As he explained in interviews, “Urchin is a story about the strange patterns that keep pulling us back.” The film’s focus on cycles of hardship and the struggle for redemption is both timely and universal, resonating with audiences and critics alike.
But what’s next for Dickinson? With his star on the rise, there’s no shortage of speculation. Not only is he set to play John Lennon in Sam Mendes’ ambitious quartet of Beatles biopics, but his name has also been floated—albeit speculatively—as a candidate for the next James Bond in Denis Villeneuve’s rumored “Bond 26.” Dickinson himself has played coy about the rumors, with reports noting that he once portrayed a would-be spy and World War I soldier in The King’s Man, and that industry chatter has lumped him in with other young British talents like Jacob Elordi and Tom Holland. When asked about the possibility, Dickinson reportedly called the speculation “just that—speculative.”
Such rumors, however, only add to the buzz surrounding Urchin and Dickinson’s broader career. As Empire Magazine put it, “He’s cemented himself as one of the most exciting actors around.” With a growing list of acclaimed performances and now a celebrated directorial debut, Dickinson seems poised for even greater things. Small, personal films like Urchin may become rarer for him as larger projects beckon, but for now, audiences have the chance to see a deeply personal vision brought to life on screen.
For those eager to catch Urchin, the wait is almost over—at least for UK audiences. The film is set to open in cinemas across the United Kingdom on October 3, 2025, via Picturehouse Entertainment. While a domestic (U.S.) release date has yet to be announced, anticipation is building, especially in the wake of the film’s Cannes triumph. The first trailer, now available online, offers a glimpse into the film’s gritty yet hopeful world, hinting at the emotional journey that awaits viewers.
In a cinematic landscape often dominated by spectacle and franchise fare, Dickinson’s Urchin stands out as a reminder of the power of intimate, character-driven storytelling. By shining a light on the struggles of those often overlooked by society, Dickinson has not only expanded his own creative horizons but also contributed a vital new voice to contemporary British cinema. As the autumn release approaches, all eyes will be on Harris Dickinson—both in front of and behind the camera—to see where this remarkable journey will lead him next.
