By Azzam Bilal 
HangupsMusic.com – New York, The pulsating rhythms of Manhattan’s after-hours scene have long served as a backdrop for cinematic exploration, yet A24’s latest offering, Club Kid, promises a perspective that is as intimate as it is strobe-lit. The esteemed independent studio recently pulled back the curtain on the first trailer for the film, a project that marks a significant creative milestone for Jordan Firstman. Known largely for his sharp, satirical social media presence and comedic timing, Firstman steps into a multifaceted role here as the film’s writer, director, and lead protagonist. The trailer introduces a narrative that deftly balances the high-octane energy of the queer nightlife circuit with the grounding, often jarring realities of unexpected domesticity.
At its core, Club Kid tells the story of a seasoned New York City club promoter whose life is defined by the ephemeral nature of the dance floor—VIP lists, late nights, and the relentless pursuit of the next great party. However, this carefully curated existence is thrown into a state of total upheaval when he discovers he is the father of a ten-year-old son. The film follows his arduous and often awkward attempts to bridge the gap between his identity as a nightlife fixture and his new, terrifying responsibility as a parent. It is a classic fish-out-of-water story reimagined through a modern, queer lens, exploring whether a person built for the shadows of a nightclub can truly step into the daylight of fatherhood.
The casting for Club Kid further elevates the project’s profile, blending established Hollywood talent with authentic figures from the global music and fashion landscapes. Joining Firstman on screen is Diego Calva, whose breakout performance in Babylon established him as a formidable dramatic force. The ensemble is rounded out by Kirby Howell-Baptiste, known for her versatile work in The Sandman and The Good Place, and Cara Delevingne, who continues to diversify her portfolio with roles that lean into the edgy and the unconventional.
Perhaps most exciting for followers of contemporary electronic music is the inclusion of several high-profile artists within the cast. The film features appearances by Shygirl, the Mercury Prize-nominated experimental pop artist whose music often serves as the soundtrack for the very scenes depicted in the film. Alongside her are Saturn Risin9 and River Moon, figures who represent the vanguard of modern queer performance art and club culture. Their presence suggests that Club Kid is not merely using the nightlife scene as a hollow aesthetic, but is instead deeply rooted in the actual communities that define New York’s current underground.
The genesis of the film is deeply personal for Firstman. In a recent discussion with industry outlets, he revealed that the script was born from a period of significant personal transition. He cited a difficult breakup and extensive time spent in Berlin’s notorious clubbing scene as primary influences. Firstman noted that his time in the German capital exposed him to a specific "crossroads" of maturity—a point where the hedonism of the dance floor begins to lose its luster. He reflected on the realization that the substances and the lifestyle that once provided an escape eventually hit a ceiling, leading to a profound sense of introspection. This "crossroads" is the thematic heartbeat of Club Kid, capturing the moment when an individual must decide what they are building toward once the music stops.
Firstman’s journey with the film has been one of continuous discovery. He mentioned that even during the editing process and subsequent viewings, he finds new layers of meaning within the story and his own performance. This evolution suggests a film that avoids easy tropes, opting instead for a nuanced look at the complexities of aging within a subculture that often prizes youth above all else. The juxtaposition of a ten-year-old child against the backdrop of an industry built on adult escapism provides a fertile ground for both humor and heartbreak.
The road to the public release of Club Kid has already seen it gain significant traction on the international festival circuit. The film was a selected title for the Cannes Film Festival in May, where it began to generate buzz for its unique tone and Firstman’s transition into feature filmmaking. Following its European debut, the film is slated for a rigorous autumn schedule, with confirmed screenings at the Toronto International Film Festival (TIFF), the New York Film Festival (NYFF), and the Telluride Film Festival. These prestigious slots indicate a high level of confidence from the studio and suggest that Club Kid may be a dark horse contender during the upcoming awards season.
The involvement of A24 adds another layer of intrigue to the project. The studio has built a reputation as the premiere home for "elevated" genre films and auteur-driven dramas, having produced cultural touchstones such as Midsommar, Ex Machina, and the recent critically acclaimed On Becoming a Guinea Fowl. A24’s brand is synonymous with a specific visual polish and a willingness to take risks on unconventional narratives. However, the studio has not been without its recent controversies. In June, the organization made headlines by signing a $75 million partnership with Google DeepMind. The deal, focused on research and development for AI-integrated filmmaking, sparked a firestorm of criticism from directors, actors, and craftspeople who fear the encroachment of artificial intelligence on human-led storytelling. Despite this corporate friction, the studio’s output remains highly anticipated, and Club Kid appears to be a staunchly human, character-driven antidote to the anxieties regarding tech-heavy cinema.
Visually, the trailer for Club Kid suggests a film that is as vibrant as its subject matter. The cinematography appears to capture the dualities of New York City: the neon-soaked, high-contrast interiors of the nightlife world contrasted with the muted, gritty reality of the city’s residential streets. The soundtrack, naturally, is expected to play a pivotal role, likely blending the driving techno and house beats of the scene with more melodic, melancholic underscores that mirror the protagonist’s internal shift toward fatherhood.
The film arrives at a time when the cultural conversation around "queer nightlife" is shifting. While many films have historically treated these spaces as sites of tragedy or caricature, Club Kid seems intent on portraying the scene as a legitimate workplace and a community of chosen family, even as it critiques the toll such a life can take. By introducing a child into this environment, Firstman forces a collision between two worlds that are often kept strictly separate, challenging the audience’s preconceived notions of what a "stable" environment looks like.
As the November 6th limited theatrical release approaches, the anticipation for Club Kid continues to build within both the film and music communities. It represents a bold step for Jordan Firstman, moving from the rapid-fire world of internet content to the slow-burn prestige of an A24 feature. For the artists involved, like Shygirl and Diego Calva, it is an opportunity to contribute to a narrative that feels authentically reflective of their world. Whether the film can successfully navigate the tension between its high-energy setting and its quiet emotional core remains to be seen, but the trailer suggests a work that is unafraid to find the soul beneath the sequins.
In the broader context of the film industry, Club Kid stands as a testament to the enduring power of independent cinema to tell hyper-specific stories that resonate on a universal level. It is a story about growing up, even if that process happens a decade or two later than society expects. As the lights dim and the bass drops in theaters this November, audiences will finally get to see if Firstman’s vision of fatherhood in the front row of the club hits the right notes. For now, the trailer serves as a compelling invitation to a world where the party never ends, until it has to.
