We’re now at the point in time where the heteronormative Gen X-er movies of yesteryear are being given a fresh, millennial, inclusive coat of paint. Sometimes that new iteration of a familiar premise ends up running laps around the films it reminds us of, causing us to prefer it, especially when the filmmaking and writing speaks to you on a deeper level. Such is the significance of Club Kid, Jordan Firstman’s debut feature that was such the hot ticket item at Cannes that it was the only acquisition A24 made there. As if he didn’t make me emotional gutted as Charlie in I Love LA (the episode “Game Night” was the one, IYKYK), this NYC take on Big Daddy and About a Boy but from a gay party boy point of view is an absolute revelation and the coziest feel-good film you’ll see this season.
MPA Rating: R (for drug content throughout, strong sexual content, brief graphic nudity, and language throughout.)
Runtime: 2 Hours and 2 Minutes (122 minutes)
Language: English
Production Companies: Topic Studios, Stay Gold Features, Rapt Film, Twin Pictures
Distributor: A24
Director: Jordan Firstman
Screenwriter: Jordan Firstman
Cast: Jordan Firstman, Reggie Absolom, Diego Calva, Cara Delevingne, Saturn Risin9, Kirby Howell-Baptiste, Colleen Camp, Miss Benny, Alaska Riley, Nigil Whyte, Vicki Pepperdine, Eldar Isgandarov
U.S Release Date: November 6, 2026
In 2016, Peter (Firstman) launches a business as a party promoter alongside his friend and business partner Sophie (Cara Delevingne). He’s up on ketamine and coke, drunk, living life like one should in the last days of the Obama administration. While high as af while hooking up with a guy, he reluctantly gets involved in a three-way with a British woman there on holiday.
A decade later, Peter is the epitome of the meme, “The Party Ended an Hour Ago and He's Still Here”; His closest friends have grown up and found stability, and are more mellow and put together. Meanwhile he’s still drug dealing at different Brooklyn clubs and living a hedonistic lifestyle to his own detriment, to the point where a more “put together” Sophie takes their business from under him. He doesn’t have the heart to kick out his freeloading Azerbaijani roommate Nicky (a star in the making Eldar Isgandarov). Whilst facing millennial ennui living in his late mom’s rent-controlled apartment, he receives an unexpected visit from the British hook-up's best friend Edison (a scene stealing Kirby Howell-Baptiste, delivering a S-tier exposition drop). Edison unceremoniously drops off Arlo (Reggie Absolom), Peter’s biological son, for him to take care of. Arlo’s mom has passed from suicide and her abusive boyfriend whom they lived with isn’t a good parent. With no rulebook or guidance, Peter has to shape up and through Reggie, tries to find a way to apply himself as a father and perhaps even more.
Club Kid finds unexpected warmth in the exhaustion of modern adulthood.
(L-R) Jordan Firstman, Reggie Absolom Credit: Courtesy of A24
For all Club Kid’s familiarity, Firstman strays from his predecessors’ archetypal heteronormativity and hostility towards adulthood and goes for a sheer naturalism full of nuance. The lengthy but practical first act hits the nail in the coffin of modern ennui and burnout. For those who have never interacted with a Gen-Alpha child, Firstman turns it into something wonderfully pure and wholesome, and not in a way that’s schmaltzy, but naturalistically sweet and warm.
Firstman’s persona as a sardonic, overthinking, but confused guy is one many of his contemporaries can relate to (mans is seen so depressed eating Popeyes on his bed during a montage and that hit too close to home). There’s a real tragedy underneath Peter and the film really does a great job holding up its cards, meticulously unraveling his stagnation. Firstman takes bold swings in his performance that elevates it to transcendent levels.
His Mama might’ve had a tragic life, but she raised a good boy close to the scene, for Arlo is an angel from heaven. The half-Brit kid is just so polite and adorable and knows his shit. He bumps to millennial-coded music like Cocteau Twins and Elliot Smith, and is a trans ally who proudly supports the dolls. Frankly, Arlo is a dope, cool kid with a good head on his shoulders that’s the right balance of neurotic and adorable. Firstman writing him as such works in Club Kid’s favor. He and Absolom sell this father-son rapport with so much life it gets your heart fluttering. They sell great comedic banter while also pulling on your heartstring during honest, viscerally sincere conversations.
Firstman beautifully illustrates the nuance and diversity of New York's Queer Community.
(L-R) Saturn Risin9, Reggie Absolom Credit: Courtesy of A24
Firstman captures an honest illustration of the underrepresented subculture of LGBTQ nightlife in all its diversity with every sense of the word. It brings such a humanizing depiction of community in a time that studios wouldn’t be caught dead with a doll as a supporting character in your movie. It’s unbelievably refreshing to watch a movie that doesn’t limit the gay community around Peter to only white gay guys; his supportive community consists of dolls and gay males of all different shapes and sizes. His closest companion is Saffron (Saturn Risin9), a DJ who teaches Arlo how to work the turntables.
His love interest is Diego Calva who plays a social worker named Oscar. While their relationship is underdeveloped and feels rushed, due to how grounded it is and the performer’s natural charms, it cancels out any criticism. It’s a “true to this” NY to-the-tee portrayal of a community, where they all support and actively try to show up for their friend in his newfound predicament.
Even if they spark some conflict, Peter’s friends are never vilified. Hell, Firstman deserves bonus points for illuminating how annoying obnoxiously loud, younger white gay twinks who only speak in memes are (one scene where he’s selling ketamine to rambunctious white party boys where one goes “a little Charlie, a little Kirk” had me cracking up).
For his debut Firstman shows apt tonal control propelled by his naturalistic direction. He makes great use of the city in all its locations,with subtle dolly wide shots and inspired handhelds that give weight to its most intense beats. Club Kid is so completely thorough in its groundedness that it feels as if we’re piercing the veil of another’s life. DP Adam Newport Sierra, working again on 35mm film following imbuing Olivia Wilde’s The Invite with such a classic 70s look, heightensFirstman’s vision of a grunge, early-aughts NYC atmosphere. Watch this in 35 mm if you can; Sierra’s cinematography is presented like you’re peeping through a viewmaster.
Really don’t know what else to say, man. Club Kid is absolutely incredible and tender in a way that makes you want to become a better person for yourself and the people around you. It’s a feel-good, heartfelt, crowd-pleasing gem that soars as the best version of the “unexpected found family” trope. It’s a powerful debut for Jordan Firstman, who knocks it out of the park, delivering one of the year’s best movies.
