I haven’t written much about Harris Dickinson’s Urchin yet because I’m convinced that people will think I’m lying about it just to be nice. To be fair, I am a biased source: I met Harry nearly eight years ago in some random coffee shop in central London. We spoke for 15 minutes about his breakout role in the queer American drama Beach Rats but kept bumping into each other in the years that followed. Since then we’ve become good friends and I’ve been privy to all the work he’s put in to get Urchin, his feature debut as a writer-director, into production. I saw how much energy that took, and read his magnetic, excellent script before it all started shooting, a sore, lyrical, ambitious film about a recovering addict. Released from prison, he experiences life on the fringes of a city that chews him up, and the unbreakable cycle of his compulsive behaviors. But it’s also funny, thanks to Harry’s writing, and the acting of his lead star Frank Dillane. My friend took a photo of me crying during its Cannes premiere. (LOL)
Harry is a world-class filmmaker, and a cinephile with trustworthy taste. (The Roxy in New York ran a program of films that he curated, which culminates in a screening of Manila in the Claws of Light next Thursday.) I think of the excellent films we’ve experienced together, the texts I get when he leaves something he likes, and how his brain functions so brilliantly in several artistic modes. Urchin is out in UK cinemas now, and hits US theaters next weekend.
My Father’s Shadow – Directed by Londoner Akinola Davies Jr, this Nigeria-set story follows two young brothers as they travel to Lagos with their father during the country’s election crisis in 1993.
Pillion – Inspired by the salacious book Box Hill, Harry Lighton’s debut is a film about a lonely barbershop quartet singer who falls willingly into the dominant grasp of a sexy biker, played by Alexander Skarsgard. A kinky connection ensues.
I had breakfast with a music publicist this week and she asked what I thought about the Doja Cat album. I’d mistakenly assumed this new record was an extension of an already ongoing era, mostly because the culture of the music industry doesn’t allow people to properly go off grid before making a grand re-appearance anymore.
There were two years between her last album Scarlet and this one, Vie, but the eras seemed to blend into each other: A deluxe edition of her last record dropped in 2024, and she’d featured on songs by LISA and Jack Harlow earlier this year. This isn’t a slight on Doja—it’s a great pop record—but more so commentary on the impossible task of retaining your status in contemporary culture. Apparently, less artists are permitted to fully disappear between eras because there’s a notable drop off in your social media following when you’re absent. Say you lose 500,000 followers in your hiatus. In the eyes of a major label, that’s half a million less streams or album sales when you come back. Who can afford to do it?
There’s very few who can. Adele is still MIA, and we haven’t heard from Harry Styles in a while, beyond pap shots of him running marathons. Even the notoriously elusive Frank Ocean has kept his fanbase ticking over with anniversary vinyl releases and the continuing success of Homer. It feels like the saturated landscape of pop music, and the hoops artists are expected to jump through, are making the excitement surrounding an artist’s return feel… Well, not so exciting. I don’t envy an artist stuck in that cycle.
No, it’s not The Baron from Dune – that’s Harris Dickinson, writer and director of Urchin!
What’s something you did loads as a kid that you haven’t done as an adult, but would like to do again?
“Play conkers.”
I met Tilda Swinton and it was a spiritual experience.
Really craving a Subway cookie rn
The actor Ruaridh Mollica, who we tipped as an exciting new star this time last year, just got nominated for a Scottish BAFTA! He told us that winning one was his life goal. One step closer, king. <3
I cried listening to “Broken Glass” by Lorde at Liverpool Street station last week. I loved Virgin on first listen but drifted from it a little. Now I feel like I’m locked in again.
Jim Legxacy’s Black British Music… album of the year, no?
Need any recommendations? Tell me how you’re feeling and I’ll tell you what to watch.