Is ‘Club Kid’ a ‘Conservative’ Movie? Only If You’re Still Living in the ’60s

Is ‘Club Kid’ a ‘Conservative’ Movie? Only If You’re Still Living in the ’60s hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 14, 2026 1:07pm PT Is ‘Club Kid’ a ‘Conservative’ Movie? Only If You’re Still Living in the ’60s By Owen Gleiberman Plus Icon Owen Gleiberman Chief Film Critic @OwenGleiberman Latest Why James Gunn and Peter Safran’s Short-Lived DC Era Was Less Than Super 3 days ago ‘Avedon’ Review: Ron Howard’s Thrilling Documentary About Richard Avedon, the Great Photographer Who Turned Head-On Portraits Into an Art Form 6 days ago ‘The Cat in the Hat’ Review: Bill Hader Leads an Animated Dr.

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Seuss Comedy So Overstuffed It’s Like a Marvel Movie for Tots 2 weeks ago See All Add us as a Google Preferred Source Comments One of the things I love about movies is how layered they are. When a film connects on a deep level, saying what it’s truly “about” may not be as simple as it sounds.

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Chasing down a movie’s inner meaning can lead you into the mystery of things. A great movie can be “about” more than it seems.

Take “ Club Kid .” Jordan Firstman ’s ebullient and moving first feature tells a story that couldn’t be more straightforward — or, in a way, more traditional. Firstman, in a fantastic performance, plays Peter, a queer New York party promoter (a few decades ago we would have called him “downtown,” now he’s Brooklyn) who learns that he has a 9-year-old son, whom he fathered in a random three-way sexual encounter at one of his 4:00 a.m.

The kid, Arlo (Reggie Absolom), is sweet and curly-haired and British (he arrives with a chaperone from London); his mother, who raised him, recently committed suicide. The responsibility to take care of Arlo has suddenly dropped on Peter like a load of bricks.

It’s something he doesn’t want and, for the time being, doesn’t have much choice about. But as he and the kid start to hang out, a tentative relationship forms, and the two begin to figure out what they might mean to each other.

Related Stories ‘Hold Onto Me’ Director Myrsini Aristidou Kicks Off Historic Oscar Campaign for Sundance Audience Award Winner: ‘I Really Feel Like We’re Underdogs’ What “Club Kid” is “about” is how Peter, a charming dissolute man-child, living an existence of unhinged hedonism, discovers that he wants to grow up and take care of someone besides himself. On that score, the drama is authentic and fully felt.

In outline, though, it’s something we’ve seen many times before, in films from “About a Boy” to “Big Daddy.” Yet what makes “Club Kid” singular is that it’s about something larger than that. As a filmmaker, Firstman plunges you into the world of queer club culture with a fervor and tumult and personality and lived-in detail that takes your breath away.

He plunks the audience down in the middle of the shade-throwing nightbloom revels, the cocaine and ketamine binges, so that we experience the cathartic rush of drugged-out insolence, of heightened erotic excitement, of gender-flipping transgression. From the earliest days of gay liberation, the party scene was a core expression of queer freedom, and still is.

What we call disco started in the underground gay clubs of the early ’70s, and part of Peter’s cachet as a promoter is that what’s he organizing is now a business, but it’s still underground. The staging of these scenes, and the acting in them, is extraordinary.

Jordan Firstman makes us feel the life of the party. And yet…he’s not merely celebrating it.

As authentic and scene-specific as they are, the party sequences in “Club Kid” signify as more than just a portrayal of the New York queer club scene

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