Wednesday, November 11, 2026
Club Kid
Some movie protagonists take a little getting used to. In writer-director Jordan Firstman's impressive feature directorial debut "Club Kid" (USA 2026 | 122 min.), Peter, the man at the center of this comedy, takes considerably more work. A hard-partying club promoter whose drug-fueled lifestyle has become almost shockingly absurd, he is initially the sort of person you might prefer to avoid. But just when you think there is little to like about him, a charming ten-year-old boy lands on his doorstep, and everything begins to change. By the end, you may find yourself crying alongside a man you could barely stand at the beginning. The film's journey from outrageous comedy to deeply felt human drama is quite an achievement.
Peter (Jordan Firstman) is a New York nightlife promoter in his thirties who seems determined to extend his party years indefinitely. Along with his business partner Sophie (Cara Delevingne), he runs a popular queer club night, surrounded by friends whose lives revolve around partying, drugs and hookups. But his relationship with Sophie deteriorates, leaving him without a business partner and increasingly unable to keep his life together. He still shares his apartment with Nicky (Eldar Isgandarov), an eccentric roommate who contributes little beyond his unpredictability.
Then Edison (Kirby Howell-Baptiste) shows up at Peter's door with a ten-year-old boy named Arlo (Reggie Absolom). The boy is Peter's son, whom he never knew existed. His mother has recently died, and Peter is apparently the only family he has left. Suddenly, the man who can barely take care of himself is expected to look after a child. Peter turns to Oscar (Diego Calva), Arlo's social worker, for help navigating the unfamiliar business of parenthood. What begins as an unwanted responsibility gradually becomes something neither father nor son knew they needed.
Firstman makes the most of the collision between Peter's
chaotic nightlife and the demands of raising a child. He does
not sanitize the club scene or soften its excesses. The drug
use is pervasive, openly discussed and at times so outrageous
that the partying itself becomes almost surreal. Drawing on
his own experiences in queer nightlife, Firstman even
incorporates the scene's distinctive slang into the dialogue.
Yet this is more than a parade of outrageous characters and
wild nights. It is also a portrait of a community whose
members, for all their self-destructive tendencies, form
an unconventional family of their own.
The real turning point comes through the growing relationship between Peter and Arlo. Initially, neither quite knows what to make of the other, but their bond develops through music, shared experiences and the people around them. Peter's friends, including Saffron (Saturn Risin9), who teaches Arlo to DJ, become part of the boy's new world. The makeshift family that emerges is one of the film's greatest pleasures. Peter, who once seemed incapable of caring about anyone beyond himself, begins to discover what it means to be responsible for another human being. More importantly, he starts to grow up himself.
The dialogue is one of the film's greatest strengths: catchy, crisp and full of personality. Firstman has a terrific ear for conversation, making even the most eccentric members of Peter's circle memorable while allowing their exchanges to reveal unexpected vulnerabilities. Peter himself remains obnoxious, self-absorbed and frustrating for much of the film, but Firstman gradually exposes the insecurities beneath his bravado. The supporting cast is equally engaging, particularly the unpredictable Nicky and the colorful collection of club regulars. Even the smaller characters leave an impression.
What makes the film especially effective is that its emotional shift never feels like a sudden personality transplant. Peter does not magically become a responsible adult simply because a child enters his life. He struggles with the demands of parenthood, his own habits and the consequences of choices he has made. The story's increasingly serious turn reminds us that growing up often means confronting things we would rather leave alone.
And then comes the emotional payoff. The Peter who initially seemed so irritating becomes someone whose pain you genuinely feel. When he finally lets his guard down, Firstman delivers a raw, deeply human moment that is nothing short of profound. By the end, you may find yourself crying with him, having traveled an unexpectedly moving distance from your initial dislike of the character. It is a testament to both Firstman's writing and his performance that he makes this transformation so convincing.
At 122 minutes, the film could certainly have benefited from a tighter edit. Some stretches run longer than necessary, and a little trimming would have sharpened its impact. But that is a relatively minor complaint about an otherwise impressive debut. Firstman has made a remarkably assured first feature that is unafraid of being outrageous, vulnerable and emotionally exposed.
"Club Kid" opens in theaters in the San Francisco Bay Area on Nov. 13, 2026.
