Raindance Film Festival 2025: ‘Dirty Boy’ Review
Stars: Graham McTavish, Stan Steinbichler, Susie Porter, Honor Gillies | Written and Directed by Doug Rao
Dirty Boy, directed by Doug Rao in his directorial debut, is an ambitious psychological thriller that attempts to weave a complex tale of mental illness, cult dynamics, and personal redemption. Starring Graham McTavish, Stan Steinbichler, Susie Porter, and Honor Gillies; the film boasts strong performances and a visually striking aesthetic as it takes its time to develop and realise its deep narrative themes working its way under your skin.
Issac (Steinbichler), a young man grappling with schizophrenia, becomes entangled in a nightmare scenario when he believes he has been framed for a series of ritualistic murders. As he attempts to clear his name, he uncovers a sinister cult led by the manipulative and menacing duo of McTavish and Porter, with Gillies playing Hope, a conflicted member of the group living in their Von Trappian mansion. The narrative unfolds in a kind of non-linear fashion, jumping between Issac’s present struggle, his fragmented memories, and glimpses into the cult’s inner workings.
The non-linear approach works very well in setting the tone for the audience, the ambiguity keeps you guessing about Issac’s reliability as a narrator. As the plot progresses, the shifts in perspective start playing with and disrupting what you think you know. The film takes a run at the deeper explorations of Issac’s mental illness and the parallels between his paranoia and the cult’s control, but these themes do feel a tad undercooked.
The cast is undeniably the film’s strongest asset, with each actor delivering committed and nuanced performances. Stan Steinbichler is the emotional anchor as Issac, portraying his character’s mental and emotional turmoil with raw vulnerability. His physicality, nervous tics, haunted expressions, and moments of explosive frustration effectively convey the weight of living with schizophrenia. Graham McTavish and Susie Porter are standouts as the cult leaders, bringing a chilling intensity to their roles. McTavish’s huge commanding presence and Porter’s icy charisma create a dynamic that is both unsettling and magnetic. Their scenes are some of the film’s most compelling. Honor Gillies, as Hope, delivers a layered performance, balancing fragility and defiance. Her chemistry with Steinbichler is palpable, and their interactions provide some of the film’s most emotionally resonant moments.
Visually, Dirty Boy is a standout, with Rao’s direction creating a keen sense of dread, making you think “but why do I feel this” as you have a strange, uneasy feeling of knowing the unknown, partly down to a strong show but don’t tell ethos from our director. The cinematography, helmed by Ross Yeandle, while at times is bold and beautiful, showing off the gorgeous landscape outside our main location, it also leans into a dark, muted colour palette, with stark contrasts that mirror Issac’s psychological state. The use of tight framing and handheld camera work in tense scenes heightens the sense of unease, while wide shots of landscapes emphasise Issac’s isolation. The cult’s ritual scenes are particularly striking, with dim lighting and practical effects that make the sparse violence feel disturbingly real.
Something I have been finding myself pick up on as I get on in age is sound design and score. Here is another highlight, with a haunting score by composer Matthias Jakisic that blends eerie ambience with jarring notes. The use of Issac’s auditory hallucinations and the cult’s chants further immerse you into this world. Having said that, and this is purely personal, there are moments where the score feels a tad overbearing, drowning out quieter, character-driven scenes. Don’t get me wrong, I do think this is purposely done to really land the moment, but I felt it a little jarring and worth mentioning.
Dirty Boy aims to tackle heavy themes, including mental illness, manipulation, and the dangers of blind faith. Issac’s schizophrenia is portrayed with sensitivity. The parallels between his paranoia and the cult’s control are intriguing. However, I will also say that while McTavish and Porter’s performances make the leaders feel threatening, the cult itself feels underdeveloped. Its beliefs, rituals, and hierarchy are vaguely touched on. The film hints at broader themes of power, control, and the human need for belonging, but these ideas are overshadowed by the more immediate demands of the plot, which I guess is fine for a 98-minute movie, but I couldn’t help but feel the film was trying to say more.
Dirty Boy is a film with flashes of brilliance, but at times falls short of its world-building ambitions. Its strongest elements are its performances, visual style, and atmospheric tension, which make it a compelling watch for fans of psychological thrillers. Doug Rao’s direction shows insane promise, and the film is a huge step in his directing career. I can see big things from this director and will definitely be searching out his works. So, for viewers who prioritise atmosphere and acting, Dirty Boy offers enough to warrant a watch. Steinbichler’s portrayal of Issac is genuinely affecting, and McTavish and Porter’s menacing presence elevates the film’s tension. It’s a solid start to Rao’s filmography—one that hints at his potential.
**** 4/5
Dirty Boy has its UK Premiere next month as part of the Raindance Film Festival.
