Club Kid — The Neon-Drenched Melancholy of Being

May 16
2 min read

Cannes 2026 Review: "Club Kid"

Shahran Morshed

Image source: Club Kid (2026) — *Image source:* *Club Kid* *(2026)*

We know Jordan Firstman for his sharp humor and high self-awareness. But in his debut feature film, 'Club Kid', he leaves behind his sarcastic side to create a world that is purely sacred. After its premiere at the 2026 Cannes Film Festival (Un Certain Regard), it became clear that Firstman is not just a performer—he is a filmmaker who knows how to read the silence within a frame.

The film's greatest strength is its visual language. Cinematographer Adam Newport-Berra shot the movie on 35mm film. In today’s world of perfect digital images, this analog grain feels like a kind of memory art. The smoke and neon lights of New York’s underground clubs are not just backgrounds; they feel like living characters. This analog texture makes the reflections and the depth of colors feel much more alive than a digital sensor could, turning every frame into visual poetry.

Firstman himself plays the lead role—a club promoter whose life is one long, non-stop performance. But when the film places him in front of his unknown son, a silent tragedy begins. Diego Calva and Cara Delevingne are natural in their supporting roles—they represent the remains of Firstman’s old, flashy world. However, newcomer Reggie Absolom changes the whole atmosphere. The chemistry between Firstman and his son grows slowly, showing a deep honesty and a slow release of pain without any loud melodrama. It touches on a quiet truth: the more time and care we give to a relationship, the deeper it becomes.

To me, Club Kid is not just a comedy-drama; it is a journey of gilded loneliness. The sound design plays a vital role—it moves from the loud, pulsing beats of the club to the sudden silence of an empty alley, creating a deep sense of emptiness for the audience. It reminds us that we are all afraid of losing the artificial spotlight in our lives. Firstman skillfully shows that sometimes, to find our true selves, we must lose our way and leave our familiar world behind.

The pace of the film is not necessarily slow, yet it is not fast either. I loved how Firstman chose not to rush the story, forcing the audience to dive deep into every frame. Because he avoids a fast speed, you notice every detail. Its emotional depth is like a sacred silence found in an abandoned street. It is the kind of film where the music and color palette stay in your mind long after it's over—like the feeling of a dream left behind on a foggy morning. A film becomes much more interesting when it breaks the rules and tries something different. And Jordan does that in this film very comfortably. And Club Kid doesn't really end; it leaves a lasting impression that stays with you.