11/12 ForReel Score | 4.5/5 Stars

One day, I woke up and learned I was responsible for myself. In an instant, Mama wasn’t there to fold my clothes or cook for me anymore—nobody except my conscience to steer me in the right direction. When did this happen? I’m not sure. I guess undergrad was that transitional period, but it went by significantly quicker than I wanted. Some of my friends are getting married (some even have kids), whereas I'm stuck in temporal limbo. Such potent mid-20s malaise is the focal point of Club Kid, comedian Jordan Firstman's directorial debut. Centralizing a burnt-out nightclub promoter who learns of his biological son’s existence, Club Kid is as heartwarming as it is brutally honest.

Though well-known for rolling with Rachel Sennott’s I Love L.A. clique (and completely butchering the meaning behind the “Fatima” meme), I wasn't familiar with Firstman before Club Kid. What I do know is that Club Kid’s Cannes premiere sparked the first bidding war of 2026’s festival season, with Mubi, Searchlight, A24, Netflix, and Focus Features putting up seven-figure numbers for the title. A24 won the bid at a whopping $17 million, so let’s hope that they don’t bungle the release this time (If I Had Legs I’d Kick You deserved better). I say this because Club Kid is a crowd-pleaser made for packed theaters, though Firstman’s debut offers much more than hearty belly laughs.

At the core of Club Kid is Peter (Firstman), an exhausted thirty-something who, ten years after hooking up with a British girl in a drug-fueled stupor, discovers he has a son. Exhausted and stuck after years of partying and substance abuse (and selling on the side), Peter has already lost his mojo. He hasn’t a shred of self-respect, which maybe explains the rampant drug and alcohol consumption. Peter’s relationship with business partner Sophie (Cara Delevigne) is on the rocks, which doesn’t help when you suddenly have two mouths to feed. Peter’s son, Arlo (Reggie Absolom, in his first feature film), functions as both character and catalyst, prompting Peter to, in short, get his shit together.

With a kid like Arlo, figuring oneself out couldn’t be easier. Absolom carries the weight of a wounded child with sensitivity and the necessary volatility, chucking Peter in the deep end when it comes to parenting. And, for the most part, Peter does a pretty good job of rising to the occasion. Firstman is a smart enough writer to know progress isn’t overnight, emphasizing the importance of community for self-betterment. Meeting a sexy doctor played by Diego Calva also eases Peter’s depressive weariness, developing a genuine romance between the two. Firstman may hit familiar notes that toe the line of saccharine, but there’s an awareness to their deployment that makes Club Kid’s final few minutes hit like a truck.

Saving Club Kid from venturing too far into cloying territory is an even balance of sugar and spice. There was ample opportunity for Firstman to make his role as self-aggrandizing as possible, but Peter’s thorny honesty prevents Club Kid’s humanist angle from falling flat. Part of that comes from an overall array of likeable characters (I wasn't the biggest Jordan Firstman fan beforehand), with a wonderful ensemble surrounding Firstman and Absolom. Club Kid relies on the warm acceptance of queer community, helping both Peter and Arlo in their respective healing processes. There’s an overall feel-good energy to Club Kid that works in its favor, though Firstman knows better than to make everything sunshine and rainbows.

Some parts of Club Kid are a bit too convenient, but Jordan Firstman uses said convenience to build stakes before threatening destabilization. Laugh-out-loud funny as Club Kid is (calling a cocaine-ketamine mixture “Charlie Kirk” made me guffaw like a maniac), the father-son drama is where Firstman’s heart lies. Tossed headfirst without warning into Peter’s indulgent New York City lifestyle, Arlo’s arrival doesn't change his father overnight. Peter still messes up and makes bad choices, some that come around to really bite him in the ass. Firstman pours his soul into the film’s final act, establishing change as a slowly attainable process. On top of simply enjoying the company of Club Kid, I left the theater utterly moved.

Keeping in mind that Club Kid is Jordan Firstman’s directorial debut, I’m considerably impressed by the amount of sensitivity, restraint, and formal competence on display. I’ll never say no to some tasteful Wong Kar-wai-style step-printing, with Firstman being skilled enough to provide rhythm to his longer takes. Most importantly, Firstman knows exactly how to end the film, punctuating Club Kid as a bittersweet character study about someone finally growing up. One can't avoid falling head over heels for a movie as emotionally invigorating as Club Kid; I could've stayed in my seat for hours. It’s easily one of 2026’s best films so far, and a damn-good announcement for a voice I hope to see more from in the future.

TIFF 2026 | Movie Review: Heartwarming And Crowd Pleasing, "Club Kid" Is An Outstanding Directorial Debut From Jordan Firstman