Love, drugs and self-esteem collide in Jordan Firstman’s directorial debut, Club Kid. It portrays queer nightlife without hiding the emotional bedrock of loneliness and insecurity. Those feelings come to life through the most abrupt beginnings of fatherhood. Through humour and heartbreak, Club Kid never lets go of you as tenderness arises amongst chaos and explores the importance of chosen family. Firstman describes the creation process as “the honour of my lifetime”.
Club Kid takes a modern spin on the unexpected parent trope. Peter (Jordan Firstman) is a gay socialite who revels in the New Yorker party scene. Peter runs a boisterous drug- and sex filled club. However, cracks emerge in his playboy persona as his comedowns leave him bed-rotting and self-loathing. His whirlwind, outgoing lifestyle is turned upside down by the unexpected entrance of Arlo (Reggie Absolom), his 10-year-old motherless son. Through hardships, friendships and self-discovery, Peter enters uncharted territory. He embarks on the journey of becoming a dad and navigating responsibilities that come with it.
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The glamorous side of partying is grounded in the stark contrast of Peter’s human and messy crashes, which follow him into fatherhood. Although the film’s upbeat, frantic pacing and vibrant cinematography establish the nightlife chaos, they slow down as Peter and Arlo attempt to understand each other. There is an important awkwardness in watching a party promoter establish parenthood with his shy, grieving son. One instance is Arlo wearing Peter’s “I love Björk and bareback” shirt, triggering laughs in the theatre. Their dynamic is unique as they bond over Arlo’s mature, unforeseen music taste (and excellent film taste, with that Lady Bird cameo), sharing a playlist they both contribute to. This meaningful detail highlights the significance of music in queer spaces as a language of understanding.
Furthermore, the club community embraces Arlo and puts him at the centre of the decks, utilising his unique music taste. It is a testament to the love of your chosen family. The cab ride belting to Rihanna encapsulates the bond and magic of queer nightlife, embodying escapism and freedom. Firstman describes using music in Club Kid as an opportunity to “build your fantasyland”. The needle-drop of Ethel Cain’s ‘Thoroughfare’ vibrates through the theatre, intensifying this newfound connection.
When the party ends…
Club Kid is a love letter to queer nightlife as it refuses to excuse its bleakness, displaying the reality of burnout and the gritty side of mental health. Exploring the sadness masked by drugs, sex and clubbing, Arlo acts as a catalyst for Peter’s self-discovery and emotional growth. They open up about their shared grief, leading to Peter revealing, “I basically don’t have any self-esteem.” His admission gives voice to deeply recognisable insecurity which reaches beyond a film. Arlo’s innocence and willingness to listen allowed Peter to accept that it is okay to be sad and good to open up. As a result, this leads to Peter acknowledging his past traumas.
Humour amongst heartbreak
The screenplay is incredible, especially with its use of comedy woven into heartfelt, authentic scenes. For example, “You fucking bitch”, repeated between Arlo and Peter on the streets of New York, is a gag, yet represents Peter’s naivety when it comes to parenting. This story features classic British cult sayings such as “innit babes”, recognising the differences between where Arlo and Peter are from. Furthermore, Firstman’s background in comedy shines throughout the screenplay, marking it an entertaining watch, whilst resonating with viewers and making the hard-hitting moments more effective.
At the film’s climax, Peter is met with a sobering realisation that forces him to fight for the gravity of fatherhood. The third act exemplifies Peter’s bond with Arlo as he battles for custody. The most heartbreaking beats occur here. In particular, the scene of Peter receiving a phone call brought me to tears. This is a tribute to Firstman’s directing and the actors’ performances. Every character is thought out, and it genuinely feels as though you are part of the group. Reggie’s quiet, observant portrayal of Arlo bounces brilliantly off Jordan’s high-energy and underlying melancholy, carrying the film’s emotional weight.
Club Kid is a film about discovering self-worth, while recognising how unexpected connections leave lasting impacts. Despite the chaos, Firstman balances queer nightlife with vulnerability, demonstrating his versatility as a lead and first-time feature director. His understanding of the world he depicts gives the film authenticity, spanning beyond its plotline. As the credits rolled, Club Kid became my favourite film I watched at LFF26. It is undoubtedly one of the more impressive directing debuts I’ve seen in recent years.
★★★★★
In cinemas from January 8th 2027 / Jordan Firstman, Cara Delevingne, Kirby Howell-Baptise, Reggie Absolom / Dir: Jordan Firstman / A24 / 15
