The BAFTAs are too conventional – and Urchin’s snub is the perfect illustration

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As a huge film fan, I always wonder what really sets the BAFTAs apart from the Oscars. Honestly, aside from the fact the BAFTAs happen earlier in the year and sometimes feel a little less polished in their presentation, it can be surprisingly hard to tell the difference between the two awards shows. They often celebrate very similar films and performances, which is a bit frustrating!

All five films nominated for the BAFTA Best Film award in 2026 are also contenders for the Oscars’ Best Picture award – a trend that’s held true for the last decade, with only a couple of exceptions (I, Daniel Blake in 2017 and The Mauritanian in 2020).

The British awards do have categories specifically for British films, but they often take a backseat to the bigger, more publicized awards dominated by Hollywood stars. Sometimes, a few British films get recognized, but it’s not always common.

BAFTA appears to favor hiding its recognition of innovative work under a single award for ‘outstanding debut by a British writer, director, or producer.’ However, even exceptional artistic achievements often don’t receive acknowledgment. A recent example is Harris Dickinson’s impressive directorial debut, Urchin, which was overlooked.

Urchin is a powerful and empathetic film that feels inspired by the realistic style of Ken Loach and the sensitive storytelling of Andrea Arnold. It’s a moving look at someone struggling due to failing social services.

Mike, played by Frank Dillane, is the driving force of this contemporary story. He’s a young man experiencing homelessness who ends up in prison and spends the rest of the film trying to make up for his mistakes.

Mike is a thoughtful and capable person who initially appears to be getting his life back on track. He finds work at a somewhat rundown, but well-liked, hotel, and receives help with housing through a rehabilitation program.

Despite some help from the state, Mike doesn’t receive enough support to truly get ahead. Having experienced a difficult childhood, he finds it hard to build a better life and often relapses into old, harmful patterns.

Mike was almost reaching his full potential, but just needed a little encouragement to succeed. Unfortunately, strict rules and his own impulsive, self-sabotaging behavior led to a tragic outcome.

The film offers a raw and honest portrayal of a man struggling to reconnect with society, powerfully brought to life by Dillane’s captivating performance. His character, Mike, is both thoughtful and surprisingly energetic, making him instantly sympathetic even when he makes choices that undermine his own efforts.

Honestly, what really got to me about Dillane’s performance wasn’t just what he did, but how he moved – every little twitch and awkward dance in his apartment just screamed bottled-up feelings. But it’s more than that, you know? Dickinson’s script is brilliant. It builds this incredibly complex character, and thankfully avoids all the tired, predictable tropes you often see. It feels so real and fully realized.

Rather than simply labeling Mike as homeless, Dickinson aimed to portray him as a person seeking a small measure of peace and stability in his life.

Before making the film, the director worked at the charity Under One Sky. He explained to TopMob last year that the project was inspired by his personal connection to people experiencing repeating patterns of hardship – not just addiction and homelessness.

For me, it really focused on dealing with past trauma and figuring out how to cope after experiencing something very difficult.

Dickinson wanted to portray a character around my age who struggles with internal conflicts and challenges viewers to empathize with someone flawed and making tough choices. She specifically emphasized that while homelessness is part of the character’s life, it’s not the central focus of the story.

Dickinson’s first film, Urchin, thoughtfully tackles the serious problem of homelessness, prioritizing the human stories behind it. Showing genuine empathy – something often missing in politics today – the film offers a balanced and non-judgmental look at the complex struggles of a person trapped in a failing system.

Dickinson’s story feels genuine and unique. He uses dreamlike scenes to explore Mike’s complex and often troubled mind, a peaceful place Mike struggles to hold onto for long.

The film’s strikingly creative visuals and Alan Myson’s unusual electronic score perfectly capture its unsettling atmosphere. One moment, it builds intense suspense, and the next, it sweeps you away into a state of exhilarating energy.

This film is a striking and creative work that establishes the actor as a unique talent in British cinema, proving he’s much more than just someone known for an upcoming role as John Lennon.

The lack of BAFTA nominations for his work is particularly surprising, as the film was a remarkably strong debut for a British filmmaker. Despite receiving critical acclaim, including a best actor award at Cannes for Dillane, it wasn’t recognized in any category, including outstanding debut or leading actor.

Despite winning the FIPRESCI prize at Cannes – an award recognizing innovative and bold filmmaking – BAFTA seems to favor more traditional and conventional films.

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It’s not meant to diminish the achievements of the other nominees – films like ‘A Want in Her’ are fantastic debuts, and the ceremony itself is impressive given its limited budget. However, if the BAFTAs truly aim to support British film, why aren’t these deserving British productions given more prominent recognition?

Could BAFTA replace one of its Best Film nominees – often borrowed from the Academy Awards – with a deserving British film? Alternatively, BAFTA could follow the American Academy’s lead and increase the number of nominees from five to ten, allowing both major Hollywood films and outstanding British productions to be recognized.

To stay relevant when awards shows are becoming less important, the BAFTAs need to take more risks and champion innovative British films. Right now, they seem to be simply following the lead of the Academy Awards instead of forging their own path.

Authors

Calum Russell

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2026-02-21 12:35