Directed by: Jordan Firstman
Written by: Jordan Firstman
Run Time: 2 hours 6 minutes
When it comes to queer cinema, gay parents aren’t often seen on screen, or at least, aren’t the focus. Sure, there’s plenty of daddies, but not that many actual dads. Perhaps it’s down to the genre’s fondness for more romantic and historical narratives, but what about the family stories? Enter US writer-director-actor Jordan Firstman, whose feature debut, Club Kid, looks set to provide just that.
After more than a decade running club nights at the heart of NYC’s queer party scene, Peter (Jordan Firstman) is struggling to sustain his chaotic, drug-fuelled lifestyle. His increasingly destructive behaviour causes tensions with his long-time business partner, Sophie (Cara Delevingne), and the pair eventually part ways, leaving Peter jobless — other than dealing to his friends. At the height of his exasperation he then receives the shocking news that he has a ten-year-old son, Arlo (Reggie Absolom), he never knew existed, and following the sudden death of his mother, finds himself responsible for his care.
Peter’s certainly an unlikely candidate for parenthood and Club Kid spends its opening scenes establishing his more carefree attitude. As the life and soul of the party he’s in his absolute element reaping the rewards of these big gay nights out — a hefty cut of the door and drugs on demand. With cameos from the likes of NYC favourites, model Amanda Lepore and drag queen Kandy Muse, the film convincingly captures the height of the city’s queer nightlife. All the while Firstman gives Peter an infectious joy and warmth that makes his success in this setting feel entirely plausible. A scene of him and his friends vibing to Rihanna’s ‘Sex With Me’ on the way home from the club is enough to endear the audience to him, and his appeal only increases with the arrival of Arlo.
It helps that the film’s grounding in queer culture gives Club Kid a natural sense of humour, because, well, ultimately gay people are just funnier. You need only look at the riotous supporting cast for evidence — Peter’s delusional roommate Nicky (Eldar Isgandarov) in particular. The film’s comedy is multifaceted too. Of course it boasts jokes that you’d only expect from a queer film, with Peter’s array of comical gay shirts becoming one of its many highlights. He quickly realises that his “I love Björk and barebacking” tee maybe isn’t the most appropriate attire for ten-year-old Arlo. Yet, the film also has some of the most authentic and unexpected moments of physical comedy in recent memory. This combination of culturally specific humour with broader, more traditional comedy ensures that Club Kid is an effortlessly entertaining watch for all kinds of audiences.
However, Firstman’s drama is just as accomplished as his comedy. It’s rare, especially in a feature debut, for both to coexist so cohesively, but Club Kid strikes a remarkable balance. The screenplay navigates Peter and Arlo’s charming father-son dynamic in a really refreshing way, avoiding the usual tropes of reluctance and denial. Beyond their first few interactions there’s no forced fatherhood. Rather, their relationship is characterised by an ease that is borne out of both Peter and Arlo’s swift acceptance of their new family situation. This makes for a far more compelling and original story, one that explores the characters in a deeper way than simply showing them learning to get along.
The result is an utter delight to witness too, as Peter represents a reality that many queer men don’t even allow themselves to imagine. Watching a gay dad parent his son in simple, everyday scenarios has a power to it that shouldn’t be understated. Better yet, the fact that Peter’s sexuality isn’t treated like an obstacle to the success of the father-son relationship — it doesn’t have to be disclosed, it’s not something to be overcome — provides a further tonic to the cinematic trends of the past, and places Club Kid firmly in the present. Peter’s sexuality actually informs his parenting; his emotional vulnerability, his open-mindedness, it’s all relevant. In one moment he tells Arlo “if you wanna cry, that’s fine by me,” perhaps a reminder to himself too, but it’s moments like this that reveal his character, both as a father and as an individual.
Firstman is fantastic at conveying this eager, all-encompassing love that radiates from Peter’s entire being. He makes Peter’s affection obvious, but gives him that little bit of restraint that indicates he’s still trying to play it cool. There comes a point, though, when there’s just no pretending anymore and just how enamoured Peter is with Arlo becomes the film’s biggest strength. This emotional core of Club Kid just wouldn’t work without the chemistry of the central relationship, and as Arlo, Reggie Absolom brings this inquisitive, enthusiastic quality to the character that meets Firstman’s sincerity perfectly. The foundation of their relationship is built on a mutual respect, which is lovely to see, but watching that blossom into genuine, aching love is the real treat.
The seamless way that Peter’s life is presented, even alongside his new responsibilities as a father, allows the script to explore other avenues as well. Diego Calva stars as Arlo’s social worker and Peter’s connection with him is nurtured, while a new venture in his world of party promotion is given ample attention too. Club Kid has this impressive ability to be attentive to several different ongoing elements, without ever becoming overwhelmed or unfocused.
It all comes back to Peter’s approach to fatherhood though, as he doesn’t compartmentalise his role, an admirable quality in general, but one that works in favour of the film too. Arlo features in all of these elements, and you can tell that’s what Peter wants, his priorities have changed for good and Arlo remains the most important. Sometimes it just takes a major life moment like this to kickstart the required change to save us from ourselves, and Firstman has found such a sweet, funny and earnest way of communicating this.
Coupled with its eclectic soundtrack that ranges from Slayyyter and Moby to Cocteau Twins and Elliott Smith, Club Kid — like all the best parties — goes by in an absolute flash. Although, unlike the usual struggle to remember the night before, this is one party you won’t forget. As in wearing his heart on his fabulous, coke-stained sleeve, Jordan Firstman has delivered not just a touching father-son story, but a jubilant queer coming-of-age tale — not for Arlo, but for Peter.
Star Rating: ★ ★ ★ ★
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