Club Kid

Jordan Firstman steps behind the camera for his feature directorial debut with Club Kid, a dramedy that dissects the cost of refusing to grow up. The film stars Firstman as Peter, a charismatic but deeply immature club promoter who has spent years ruling New York City's underground nightlife from his chaotic downtown loft. His life is a carefully curated blur of after-hours parties, designer drugs, and transactional relationships designed to keep reality at bay.

The status quo shatters when a quiet, serious 10-year-old boy named Arlo appears at Peter's doorstep claiming to be his son from a brief, forgotten fling years earlier. Peter finds himself completely unprepared for this level of responsibility, having never managed anything more complex than a guest list. The narrative balances raucous comedy with genuine emotional weight as Peter attempts to integrate the child into his world without actually changing it. Cara Delevingne joins the cast as Sophie, a sharp-tongued bartender who sees through Peter's act immediately and becomes an unlikely voice of reason.

Shot entirely on location in downtown Manhattan, the film captures the grimy glamour of a scene that never sleeps. With a runtime of 2 hours and 6 minutes, Club Kid offers a raw, unflinching look at arrested development. Early reviews have praised Firstman's performance and the film's honest portrayal of queer nightlife, though some critics noted jarring tonal shifts between slapstick comedy and dramatic introspection. Produced by Topic Studios and Stay Gold Features, the movie premiered at the 64th New York Film Festival in October 2026. [edit]

Peter (Jordan Firstman) operates as the undisputed king of New York City's underground nightlife, a position he maintains through sheer force of personality and a relentless schedule of parties. His existence is a shield against reality; he avoids deep connections and any form of accountability, preferring the transient thrill of the dance floor. He lives in a perpetually messy loft surrounded by a retinue of "club kids" who worship him and his chaotic energy. His primary partner in crime is Oscar (Diego Calva), a long-suffering business associate who handles the logistics while Peter focuses on the vibe. This symbiotic relationship allows Peter to outsource responsibility to chaos, ensuring he never faces the consequences of his actions until now.

The narrative structure fractures when a quiet, serious 10-year-old boy named Arlo (Reggie Absolom) shows up at Peter's door. Arlo claims to be Peter's son from a brief, forgotten fling years earlier. The revelation sends Peter into a state of comedic panic. He is completely unprepared for this level of responsibility, having never managed anything more complex than a guest list. Initially, Peter treats Arlo like an inconvenient party guest, attempting to integrate the child into his world without actually changing it. He brings Arlo to clubs, tries to pawn him off on friends, and uses his promoter skills to manage the situation with disastrous results. The film documents these bumbling attempts at connection, highlighting the absurdity of trying to raise a child in a space designed for hedonism.

As the story unfolds, the film balances raucous comedy with genuine emotional weight. A key ally emerges in Sophie (Cara Delevingne), a sharp-tongued, no-nonsense bartender at Peter's favorite venue. She sees through Peter's act immediately and becomes an unlikely, reluctant voice of reason. Sophie forces Peter to confront his complete lack of parenting skills and the fragility of his persona. Meanwhile, Oscar grows increasingly frustrated as Peter's distraction begins to jeopardize their careers, threatening a massive upcoming event that could make or break their business. The central conflict is not just about whether Peter can become a good father, but whether he can even begin to grow up. The tension builds as the pressure of fatherhood clashes with the demands of his career, forcing Peter to choose between the safety of his old life and the terrifying prospect of adulthood.

The psychological underpinnings of Peter's behavior are peeled back layer by layer, suggesting that his relentless partying is a defense mechanism for a deep-seated fear of failure and abandonment. The film does not offer easy answers or quick fixes. Instead, it presents a man who has been arrested in time, struggling to find a way forward. The journey leads to a moment of reckoning where the party must finally stop. Peter's path to redemption is paved with failures, awkward conversations, and the realization that he cannot simply party his way out of being a parent. The film sets the stage for a confrontation where the mask must fall, leaving Peter exposed and vulnerable before he can begin to build something real.[edit]