One of the year’s big festival hits, Club Kid is Jordan Firstman’s directorial debut, and it introduces him as one of cinema’s next big voices with this heartfelt, hilarious tale of self-rediscovery. Also the writer of the film, Firstman stars as Peter, a gay underground party promoter who struggles with drug and alcohol addiction, whose world is turned upside down when he finds out that he is the biological father of a nine-year-old boy named Arlo, played by newcomer Reggie Absolom. Arlo’s presence in Peter’s life forces him to change his ways as he takes on the newfound responsibility of fatherhood.
Firstman’s approach to storytelling is why Club Kid works so well. While the central narrative is not exactly groundbreaking (a constant comparison has been the Adam Sandler comedy Big Daddy), it is Firstman’s voice and vibrant directorial style that really gives the film a genuine feel and offers a sense of realism that is reminiscent of the very best modern-day indie auteurs, like Sean Baker, Noah Baumbach, and Gregg Araki, with the latter name dropped by Peter in the film when he is asked about what movies he likes. The way that characters speak is very much ‘internet-coded’, while its portrayal of New York nightlife and LGBTQ+ characters is refreshingly grounded and modern. There is a scene in the film that perfectly summarises this, as Peter tells Arlo that he is cool without even trying: that is exactly what Club Kid is. And that is why it will be a film celebrated by the masses, especially amongst millennial and Gen Z audiences.
In the central role, Jordan Firstman is a revelation. His portrayal of Peter really gets under the skin of a troubled character, showing his flaws but making the audience ultimately root for him as a well meaning person that is actively trying to better himself for his son. It would be great to see him gain some traction in the Best Actor category this coming awards season, even if it is just in the Comedy or Musical category at the Golden Globes. Equally as impressive is 14-year-old Reggie Absolom, who is the film’s real find. He delivers a sensitive and confident performance as Arlo, and is the heart and soul of the film. And while the performances from its non-actor supporting cast underwhelm (model Cara Delevigne particularly appears out of her depth as Peter’s former business partner, Sophie), it is the chemistry between Firstman and Absolom that keeps the film afloat, and is further elevated following the introduction of Diego Calva as Arlo’s therapist in the second half. The dynamic between the three of them really sell the emotional beats that the film goes through in its final act, culminating in a finale that will barely leave a dry eye in the house.
This is a film that will be a sure-fire hit with audiences- the issue arises with getting people to see it. It lacks a recognisable name to sell it, and it still has yet to be given a UK release date. However, it being the likely first exposure to Firstman for many that see it should ultimately help it gain positive word of mouth, as it adds to the believability of his performance and to the story it portrays. Auteur-driven films are few and far between nowadays, and those that do come out are often labelled as ‘passion projects’. And while you can label Club Kid as such, it stands out as unique due to Firstman’s commitment to both character and story. Not once does he come across as egotistical or one-dimensional: this is a raw self-rediscovery story that balances humour and emotion with aplomb. It is also one of the best-written films of the year, and would be thoroughly deserving of a Best Original Screenplay Oscar nomination as a reward for Firstman’s remarkable work on the film. All it needs is people to see it, because those who have seen it during its festival run have showered it with unanimous praise.
