Mike (Frank Dillane) isn’t inherently flawed; he's struggling with addiction, experiencing misfortune, and living on the streets of a harsh London. Social services secure him a room in a hostel and even a job washing dishes at a hotel restaurant, but his journey toward stability is far from straightforward. Temptation lingers nearby, and his frustrations are compounded by a difficult relationship with a coworker who seems to only worsen things; the situation doesn’t appear promising. What choices might he make to break free from this recurring pattern? The film doesn't provide answers, nor does it maintain a brisk pace. Instead, it feels like an impartial record of a young man, possessing a certain charm, caught in a whirlwind of his own making and that of a system complicit in his circumstances. While receiving some support, he has a chance; when left to his own devices, however, he even lashes out at those trying to help him—resulting in imprisonment and then a meeting with the person he harmed, which seems only to underscore his lack of purpose. It’s not a remarkable film; it does wander somewhat frequently and occasionally lacks clarity, but that can surprisingly contribute to a realistic portrayal of life among the homeless in a large city where they're often viewed as much of an annoyance as pigeons—and are cared for even less. Harris Dickinson, who has previously explored similar themes with “Postcards from London” (2018), isn’t hesitant to expose uncomfortable aspects of society, and here he utilizes Dillane’s strong performance to shed light on a subculture that many people actively avoid. He didn't take on the lead role himself, though he does appear briefly with a large snake (not a metaphor), allowing him to focus on directing and creating something that I believe is quite honest. It’s low budget and noticeably unpolished from a technical standpoint, but combined with a thoughtfully chosen soundtrack, it functions better than initially anticipated.

Source on TMDB