Urchin

In London, Mike, a homeless young man, accepts money from an older couple and goes about his morning. He begins to notice a mysterious older woman playing violin and staring at him, a haunting presence that seems to follow him. The sight hints at something unusual looming in his life.

Mike discovers his wallet is missing and immediately blames his friend Nathan. A heated argument erupts outside a café, drawing the attention of passersby. The tension underscores Mike’s fragile grip on trust and safety in his world.

Simon steps in and tries to help Mike, offering support and a chance at a meal as they walk together. It’s a small moment of kindness in a harsh city, hinting at a possible ally. Mike is wary but willing to accept the gesture for the moment.

In a shocking turn, Mike knocks Simon unconscious, steals his watch, and heads to a pawn shop to dispose of it. The act marks a violent break from any previous moral boundaries and spirals him toward legal trouble. The adrenaline-fueled theft is fueled by desperation and fear.

Police detain Mike after CCTV footage confirms the assault and theft. He is remanded to prison as the case unfolds, feeling the weight of his actions for the first time on a public stage. He calls his mother, who gives a cold, distant response that underscores his lack of support.

Upon release, Mike is warned by a prison officer not to return. He meets Nadia, a sympathetic social worker who helps with reintegration, and is placed in a hostel. The encounter marks the first sustained push toward rebuilding a life outside crime.

Mike opens up to Nadia about being adopted and lacking meaningful family support. That night, he hears odd breathing and sees the violin woman again, reinforcing the sense that unseen forces are steering his path. The eerie repetition deepens his psychological tension.

A dreamlike vision unfolds as a drain-pipe leads Mike into a dark cavern where the violin player prepares something. The sequence blends his reality with unsettling fantasy, suggesting a deeper, possibly supernatural current to his life. It leaves him unsettled upon waking.

At a charity shop, Mike finds clothes for a chef job interview, but Nathan unexpectedly appears, prompting him to flee. The encounter highlights the tension between Mike’s past affiliations and his attempts at a fresh start. It sets the stage for a more formal opportunity to prove himself.

During the interview, Mike admits his criminal record, yet Franco, the restaurant owner, hires him for a trial shift. This marks a hopeful turning point as Mike begins to rebuild his life through work and routine. The kitchen becomes a new arena where he hopes to channel his energy differently.

Back in the context of Simon’s mediated meeting, Simon shares how the incident affected his daughter and family, which visibly unsettles Mike. Confronting the consequences of his violence forces him to reflect on his actions. It deepens the moral weight of his previous choices.

Mike’s performance declines at the restaurant; food is mishandled and he clashes with a coworker. Franco ultimately fires him for unreliability, pushing him back toward his old, unstable routine. The setback underscores his fragile grasp on reform.

Returning to refuse collection, Mike bonds with Andrea, and they sleep together before attending a dance show. The night triggers flashbacks of him beating Simon after knocking him out, horrifying him and driving him to flee the event. The moment crystallizes the consequences of his violence.

Feeling hollow, Mike’s hostel stay ends and he slides back onto the streets, slipping into intoxication and confrontation in a nightclub. A bouncer ejects him and a failed liquor heist leaves him dangerously exposed and exhausted. The cycle of relapse accelerates his decline.

Seeking shelter again, Mike follows the violinist into a dark space behind a drain and into a stone hallway that leads toward a chapel. Nathan, robed and holding an altar head, guides him to a door that drops him into a void. He curls into the fetal position as darkness closes in, suggesting an existential surrender.