An Unconventional Family Affair

Jordan Firstman’s directorial debut, Club Kid, screened at The Philadelphia Film Festival. The film follows a washed-up club promoter named Peter, who is forced to grow up when he learns he has a 10-year-old son named Arlo he never knew about. Club Kid explores themes of unconventional parenting, fierce love, and unapologetic acceptance.

Unapologetic Parentage

Club Kid, simply put, is a coming-of-age story for gay men; Firstman’s direction and depiction of this is strongly woven into the narrative. Firstman, as a gay man, has an awareness of the loneliness and recklessness that being gay provides socially and emotionally. Through this notion, he keeps the film on a high vibrational note because he shows that gay men, even in the most unconventional situations, can have things that are (stereotypically) out of reach. In the moments where he leans into the so-called gay loneliness epidemic, he shines the brightest as a lead trying to step into his parentage. As a club promoter, Peter (Firstman) is always on the scene doing things that are the most extreme (getting high, selling drugs, and partying all night), but his restlessness for something meaningful lingers until Arlo enters the picture as a catalyst for his mental alienation. The journey that Peter goes on is bittersweet, especially for gay audiences who know the reality of fatherhood and the disparities of change for putting a child’s needs before oneself.

Beyond the parentage aspects of Club Kid, the community aspects are just as important in building a familial element that transforms the film beyond its basic qualities. At the beginning, Peter’s community hinges on being carefree with marginalized groups of people, and he finds a never-ending loop of solace in it, though it is toxic and chips away at his self-esteem. The 10-year-old son he never knew he had hits him hard, serving as a wake-up call he can’t easily ignore. As Peter settles into being a parent, the film offers hope to those living chaotic lives that they can settle down and find fulfillment beyond self-gratification. The chemistry between Peter and Arlo is well proportioned and builds steadily as the film progresses, and in the most chaotic moments, it takes a sentimental turn. Firstman’s balance of comedy and strife is beautifully encapsulated, especially for a debut directorial effort, and should be commended, because in the past it has been overdone with no lasting impact.

Familial Performances

As a director, Jordan Firstman is a creative who understands the perspective of unconditional storytelling. He knows how crucial telling these stories is because there is a stigma around being unconventional, not having structure, or being seen as reckless overall. He takes all of these tropes and uses them to his advantage as a director, crafting something beautiful. He gives gay men a chance to be seen through a lens of being able to care for one another and to build and have a family. Another beautiful thing Firstman does as a gay creative is show a healthy, budding relationship that can actually work, and both men show up for each other in the best and especially the worst times. There is a scene in the film where Peter is in tears, and the way Oscar (Diego Calva) comforts him is beautifully cathartic because he is in a space of ecstasy complicated by such a deep loss. When it comes to the community surrounding the film, Firstman incorporates the entire LGBTQ+ diaspora, and it works perfectly. The queer lingo and overall gags are well executed and fun to see play out in moments of camaraderie.

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As a performance, Firstman is a revelation for gay men who are figuring it out through chaotic moments but are seeking refuge from a habit that is not fulfilling or beneficial. There is a spectacular scene where Peter professes his love for his son. The scene is well written; it evokes deep sadness as his growth is shown throughout the film. This speaks even further to the screenplay that Firstman fosters in the film’s highest achievement; because of its writing, everything falls into place and leaves a lasting, heartfelt impression on its audience.

Firstman’s relationship with Arlo is pure, well-intentioned, and well-paced. The love and chemistry they share are beautiful to watch unfold. The way Arlo challenges Peter is endearing to watch on screen, and it brings the narrative full circle. Reggie Absolom’s portrayal of Arlo is beautifully done, as he does look like he could be Firstman’s biological child. The journey that Absolom goes on is one that is quiet and understated; at times it is beautiful because the audience can draw their own ideas while wondering what he brings and will bring to Peter’s life. The one flaw that Firstman made with Club Kid impacts Absolom heavily because there are moments of intense anger that are touched on but not fully explored. That misfire could have added even more levity to the narrative.

Night Life

The film was screened in 35mm, which elevated the tones and made many of the scenes feel exceptionally proportioned. The moments in the club feel unreal, and the camera work matches that. Especially in the beginning of the film, the camerawork in the club is vigorous and unflinching, so much that it draws the audience into Firstman’s chaotic sensibilities even further. The atmosphere of the club scene shifts as the film progresses, moving from a larger-than-life vibe at the beginning to a more domestically intimate experience. It serves as a strong foil for Peter’s growth as a father and a person.

One beautiful thing about Club Kid is that it doesn’t fit into a box; its atmosphere is built on proximity and exploration. That realism carries the film’s atmospheric themes. The sound and music choices are intentional, as they highlight a moment in time in both Peter’s and Arlo’s lives. To go further, many of the song choices in the film begin to blast louder as the moments escalate, and it is so spectacle-heavy that, as an audience, all you can do is relish the shock. The film’s technical aspects serve the characters’ comfort, and the audience is at the mercy of their own outlook and perspective on nightlife. Due to the inclusivity, it is seamless to adjust and fall in line with the music and flashing lights. In the more intimate moments, the lights dim in a way that lets the audience breathe and take in the calamity of the characters that is only exposed in pockets of the film. The music drives the film as both Peter and Arlo use it to connect while also using it as a coping mechanism. Their musical choices show they have had it hard, but they still dream and live to find each other and connect unconditionally through safety and love.

A New Kid on the Block

Jordan Firstman’s directorial debut, Club Kid, is a beautifully written coming-of-age film that wears its heart on its sleeve. Firstman’s original, unconventional storytelling works as a love letter and PSA for gay men: they can live recklessly but live exceptionally, building a life with those closest to them even when it comes out of the blue. Firstman’s chemistry with Reggie Absolom is a true gem and a testament to what Club Kid stands for. Club Kid is an amazing film that shows promise for more gay storytelling with wholesome gestures.