Harris Dickinson has been steadily booked in the film and TV industry since 2018, but October 2025 will mark the cinematic release of the actor’s directorial and writing debut: Urchin. The film has already seen success on the festival circuit, and as the actor commences his journey behind the scenes it feels apt to take a look back at his acting career and finest features to date.
The Iron Claw (2023) dir. Sean Durkin
First up on the list is a more recent release, achieving critical and audience acclaim and putting Dickinson on a new audience’s radar. Against impressively emotive performances from Zac Efron and Jeremy Allen White, Dickinson offers a charismatic offset to the other Von Erich brothers in The Iron Claw.
The Iron Claw gave a new lease of life to the sports-focused genre whilst illuminating the incredible skill and sportsmanship it takes to wrestle professionally.
Following the infamous wrestling family through the ups-and-downs of the sport and personal tragedy, Dickinson manages to show both his athleticism and charm while seamlessly meshing into the strong ensemble cast. Though Efron really shines, giving what should have been an Oscar-worthy performance as leading man, Dickinson offers a complimentary, contrasting presence that adds to the complexity of the Von Erich clan.
Scrapper (2023) dir. Charlotte Regan
Leading alongside Lola Campbell in her debut acting performance, this family drama highlights Dickinson’s effortless ability to play off other actors’.
Scrapper follows Georgie (Campbell), a 12-year old living alone in a London flat whilst claiming she is supported by an uncle. Jason (Dickinson) enters the picture as her estranged father, forcing Georgie out of her independence. Campbell excels as this liberated though lonely preteen, whilst Dickinson measures up as a complex young father getting to know his daughter for the first time. Though there are ups-and-downs, the narrative is a relatively steady exploration of a daughter and father getting to know another amidst real struggles like grief and scarcity.
Dickinson showcases his subtlety along with his comedic skills in this touching, understated drama.
Triangle of Sadness (2022) dir. Ruben Östlund
In this endeavour, Dickinson plays satirically-dry Carl, a struggling model coupled up with a wealthy influencer, Yaya (Charlbi Dean Kriek). Ensues a cruise trip, a shipwreck, and a deserted (or not so) island where having watched Lost really comes in handy.
Power and money are great dividers, and those divisions feel expertly investigated here, whilst offering some iconic moments. Within the first half of the film alone, memorable scenes include Woody Harrelson captaining a ship, the Balenciaga vs H&M modelling shoot, and a tussle for who will pick up the check between Yaya and Carl.
The manic narrative, coupled with these caricature-like performances, makes this a must-watch film. And, after a few stints with an American accent, it allowed Dickinson to return to his roots with his London twang. Viewing will see you rapidly switching between easy outrage, chuckles, and grimaces, all while admiring Dickinson’s versatility.
Beach Rats (2017) dir. Eliza Hittman
Dickinson’s debut feature performance, Beach Rats focuses on ambient sound and magnetic cinematography to deliver the emotive journey of Frankie, a young man navigating his sexuality amidst hyper-masculine friends in Brooklyn whilst caring for a terminally-ill parent.
So much of Dickinson’s performance relies upon movement rather than dialogue, and it really goes to show his talent in conveying a feeling through a glance or gesture.
This character-driven story is complimented by Brooklyn locals who make their acting debut here (including Anton Selyaninov and Frank Hakaj). It’s a raw film, and a strong first appearance for Dickinson.
The Darkest Minds (2018) dir. Jennifer Yuh Nelson
The Darkest Minds was another entrant in the young adult dystopian genre, and one that never really took off. However, it gave Dickinson the ability to show his acting chops and emotional range. Between the yearning, strong older sibling energy and physical prowess, Dickinson’s superhero-esque powers really seem believable.
Though it’s a shame there wasn’t time to see an interesting development for Dickinson’s character Liam along with protagonist Ruby (Amandla Stenberg), this is another marker of Dickinson chameleon-like nature where genre is no restriction.
Harris Dickinson is at the start of a long career in film and television, and is sure to continue his impressively diverse performances alongside new ventures into directing, producing, and writing.
Words by Annabel Smith
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