The Trump campaign has launched a vehement response to the debut of “The Apprentice,” a polarizing film that portrays the former President’s early years as a real estate magnate. The film, starring Sebastian Stan as a young Donald Trump, made its debut at the prestigious Cannes Film Festival, where it garnered an impressive eight-minute standing ovation.
The film’s critical reception has not shielded it from controversy, particularly from Trump’s loyal camp. Steven Cheung, a spokesperson for Trump’s campaign, issued a blistering critique of the film in a statement to Variety. “We will be filing a lawsuit to address the blatantly false assertions from these pretend filmmakers,” Cheung declared. Branding the film as “pure fiction” and “malicious defamation,” he continued to assert that its release represented a clear tactic of “election interference by Hollywood elites.” He was particularly scathing in his assessment of the film’s portrayal of Trump, suggesting it “belongs in a dumpster fire” rather than being shown through any reputable distribution channel.
The legal threats do not end with the Trump campaign. Dan Snyder, the billionaire ex-owner of the Washington Commanders and a significant investor in the film, has also expressed his discontent. Snyder, who has financially backed Trump in previous political endeavors, invested in the film under the pretense that it would depict a favorable image of the former President. However, after an advanced screening in February, Snyder’s legal team has reportedly been working tirelessly to block the film’s release.
“The Apprentice” features several contentious scenes that have drawn ire from Trump’s supporters. These include depictions of drug use, cosmetic surgery, and perhaps most provocatively, a scene alleging non-consensual sex with his first wife, Ivana Trump. The latter scene has especially stoked heated reactions and amplified calls for legal retaliation.
On Twitter, filmmaker Ali Abbasi and the cast, including Sebastian Stan, Maria Bakalova, and Jeremy Strong—who portrays the infamous lawyer Roy Cohn—were met with mixed reactions as they climbed the steps at Cannes. Abbasi, best known for his work in “Holy Spider,” directed the film, while journalist Gabriel Sherman took on the scripting duties.
. The ensemble cast also includes notable figures such as Martin Donovan and Amy Baer.
Critics have praised the film for its audacious and unflinching portrayal of Trump’s formative years. The narrative delves into the complexities of his rise in the New York real estate scene, albeit in a manner that the Trump camp contends is rife with inaccuracies and defamatory content. The film aims to shed light on the early business dealings and personal life of a man who would later become one of the most polarizing figures in American politics.
Director Ali Abbasi has defended the film, emphasizing the importance of artistic freedom and the role of cinema in exploring controversial subjects. “The objective was never to dehumanize but to offer an honest portrayal based on extensive research and numerous sources,” Abbasi stated in an interview. Writer Gabriel Sherman echoed this sentiment, arguing that public figures, especially those who have held the highest office, must be subjected to scrutiny and that their stories should be told without fear of legal retribution.
The Cannes Film Festival often serves as a launchpad for films that challenge the status quo, and “The Apprentice” is no exception. The standing ovation, while a testament to the film’s impact, also underscores the festival’s global platform for diverse voices and controversial narratives. However, the looming legal predicament threatens to overshadow the film’s critical success.
As the film industry grapples with issues of representation, defamation, and the blurred lines between fact and fiction, “The Apprentice” finds itself at the epicenter of these debates. The Trump campaign’s aggressive response highlights the ongoing tensions between Hollywood and political figures, particularly those with highly polarizing personas.
The unfolding legal drama promises to be as cinematic as the film itself, with potential implications for future biographical movies that dare to tackle the thorny lives of public figures. Whether “The Apprentice” will see widespread release remains uncertain, as the cloud of impending lawsuits looms large. What is clear, however, is that the conversation sparked by the film is far from over, setting the stage for a significant dialogue about narrative freedom, political influence, and the ethics of storytelling in modern cinema.
