That may be part of the allure of writer-director Jordan Firstman’s debut feature Club Kid, which became a surprise sensation at Cannes in May. Firstman, who’d started out as a comedy writer, first gained attention for some skits he’d posted on Instagram during the pandemic. But Club Kid came as a surprise. There’s something almost naively fresh about it, as if Firstman hadn’t stopped to consider that a plot like this one—a single gay man leaves the high life behind to care for the 10-year-old son he didn’t know he had—could invite some serious side-eye.
Alaska Riley, Saturn Risin9, Miss Benny in Club Kid —Courtesy of A24
Arlo has been through a lot, but he’s a bright, open-hearted kid with fantastic taste in music. Cocteau Twins are one of his favorites, and he’s got the cute, mid-1980s curly pompadour haircut to prove it. Peter can’t help liking Arlo, and tries to clean up his act when he realizes he wants to be a dad to him. He’s never really had to do grownup things, and their existential weight overwhelms him at first. Forget raising a child; he’s got to grow up himself, and fast.
But a movie featuring a child actor is only as good as the kid, and Absolom is quietly wonderful as Arlo. He never overplays, even when he’s retching in a bin after eating pizza. (Arlo hasn’t told Peter he’s allergic to dairy products.) At one point, Peter has to break up a fight between Arlo and another kid—it’s clear that Arlo is hiding some deep-rooted anger. We can see it passing through him like an electrical storm—and then it’s over. By the end, we see him as a real kid, not just an adorable prop in a movie that could have easily veered into sentimentality. Club Kid is, in the words of disco star Sylvester, mighty real.
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