Jordan Firstman has made his filmmaking début with Club Kid, a comedy that slips into New York’s queer-club scene and starts with a party promoter on the job before tilting into something far stranger. He wrote and directed the film, and he also plays Peter Green, a man who knows how to work a room until the room turns back on him.
That is why the film is drawing attention now: it gives Firstman a first directing credit and puts him inside the story as a man whose confidence at parties does not protect him from chaos at home. Peter and Sophie, played by Cara Delevingne, spend their nights scheduling events, booking d.j.s and watching guest lists, which makes the opening stretch feel like a small manual for nightlife logistics. Then the movie jumps ahead by about a decade and lands on Peter returning to his Brooklyn apartment to find Arlo waiting there, a ten-year-old boy who turns out to be the biological son Peter never knew he had.
The film opens with an Uber outside a Manhattan night club, then moves deeper into the city’s after-hours world, where Leonora, played by Paris Petitjean, and Edison, played by Kirby Howell-Baptiste, expand the orbit around Peter and Sophie. Leonora has recently died by the time Arlo appears, and Edison says she had been living in London, a detail that widens the story without fully explaining the missing years. That gap matters, because the movie keeps one part of Peter’s life deliberately vague: how he became a father in the first place.
What Club Kid does answer is less tidy and more revealing. Peter looks after party guests with assurance, but the film also shows him mixing business and pleasure in unsustainable proportions, including a dance-floor sequence in which Leonora comes on to him and pulls him and another man into a drug-addled threesome. The film treats that world with a sharp eye for slang and excess — right down to the cocaine-ketamine cocktail described as “a little Charlie, a little Kirk” — while still letting Peter sound almost disarmingly blunt when he says he has “never touched a vagina in my life.” It is a joke, but it also tells you how little he has controlled the shape of his own story.
Alex Coco, who also produced Anora, is part of the film’s production team, which places Club Kid inside a broader run of New York stories about nightlife, appetite and consequence. But Firstman’s debut is not interested in simply decorating the city; it is interested in what happens when a man who can manage a party cannot manage the life underneath it. The unanswered question is not whether Peter can survive the scene. It is what he does now that the scene has handed him a son.
