Jordan Firstman makes his feature directorial debut with the comedy-drama indie film Club Kid, starring himself, Cara Delevingne and Reggie Absolom, among a wider cast (a quarter or third of whom are well-known queer icons). The story follows washed-up underground party promoter Peter Green, whose life takes an unexpected turn when he is forced to care for Arlo—a 10-year-old son he never knew he had.
Where TIFF 2024 had Anora bringing a modern Pretty Woman tale to the big screen, TIFF 2026 has Club Kid as a modern, arguably more appropriate, Big Daddy. This might be a reductive comparison, but ultimately, it is what it is. Yet, Firstman crafted a more inclusive and well-rounded story—highlighting both the drug dangers and community-driven positives of the queer club scene. This narrative was both sweet, psychedelic, and enlightening—watching Peter try to clean up his act while attempting to raise Arlo in the best way he can.
Visually, Club Kid felt real in its recording and capture style, almost looking like it was shot on the best phone. This was not to say the film did not look like it was cheaply shot, but it exuded intimacy. Emmy Award-winning Adam Newport-Berra’s cinematography flexed itself from the beginning of the film. It was cool to see a camera moving three hundred and sixty degrees multiple times in a vehicle. I was impressed with Newport-Berra’s work on multiple Seth Rogen projects, such as The Studio, The Invite, and Good Fortune.
“Visually, Club Kid felt real in its recording and capture style, almost looking like it was shot on the best phone.”
I appreciated how claustrophobic this whole film felt, from the club to the tight close-ups where Peter travelled or was shown in his house. But then, the camera provided wider shots as soon as Arlo entered Peter’s life. This was a clever, unspoken filmmaking trick, which non-verbally showed how Peter’s world shifted beyond the nightlife institutions. The oner of Peter and his friends entering the club for the first time was perfectly shot too, giving audiences that core memory of getting out of an Uber or a ride to go to the club.
Carmen Cuba’s casting was perfect for each Club Kid character, even Firstman who cast himself in the lead role. After having watched I Play Rocky at TIFF 2026 and watching Sylvester Stallone’s fight to direct, write, and star in Rocky, Firstman did something similar with Club Kid. All of Peter’s dialogue felt raw and real from Firstman’s own everyday talking style, seeming like he was genuinely playing himself. I could tell he could be pulling from either his own experiences or experiences of others close to him.
Arguably, the whole cast brought the right amount of energy for their individual roles, which made this story believable for how bonkers the situation was. Delevingne’s energy was iconic and enough that she did not steal the spotlight from everyone else. I loved how sexy Diego Calva played Oscar, Arlo’s social worker and love interest for Peter—creating some honest intimacy between Firstman and Calva’s on-screen presence.
“Their electric vibes carried a lot of the comedic beats throughout Club Kid, something needed where Peter is more of the straight-man comedy guy for this film.”
If I had to give some more standout performances, Eldar Isgandarov’s Nicky and Kirby Howell-Baptiste as Edison. Both characters had some wild parts to play, and even wilder things to say. Their electric vibes carried a lot of the comedic beats throughout Club Kid, something needed where Peter is more of the straight-man comedy guy for this film. And of course, Absolum played Arlo both funny and endearing. Firstman and Absolum’s father–son relationship was one to watch, in both better and worse situations.
The importance of music as a recurring theme in Club Kid resonated and hit me hard in the feels. It has been a while since a film has used music as a plot device to connect the protagonists. Some that come to mind are Baby Driver and the Guardians of the Galaxy movies, but Guardians kind of loses that focus on the music connecting Peter Quill with his late mother. But between Peter and Arlo, I loved how it showed how music always has the power to be a good guiding light for people. It is the institutions and people in clubs that can create dangerous situations, not the music itself.
Regardless of the fact that this was not an especially original story, Firstman brought together a unique cast to tell it in a way that feels sincerely queer and real. The story and characters will keep you guessing until the very end, particularly whether Peter can pull things together or allow his past habits to dictate his future as a father. This is a film I will be adding to my top 10 LGBTQ+ films of all time, although it does not quite topple Rent. For those looking for a well-paced, emotional story exploring love in many forms, this is a perfect watch to tug at the heartstrings.
