Trump Assails ‘The Apprentice’ Biopic in Late-Night Post, Campaign Threatens Lawsuit After Cannes Premiere 🎬

Former President Donald Trump unleashed a furious, early-morning denunciation of the newly premiered biopic “The Apprentice,” branding the film depicting his rise as a New York real estate developer in the 1970s and 80s as “pure fiction” and election interference, following its controversial debut at the Cannes Film Festival.

In a post on his Truth Social platform, reportedly published around 1 a.m. ⏱️, Mr. Trump lambasted the film, directed by Ali Abbasi, calling it “garbage” and a “con job.” The sharp rebuke arrived shortly after the movie, starring Sebastian Stan as a young Trump and Jeremy Strong as his mentor, the notorious lawyer Roy Cohn, received an extended standing ovation but also generated significant buzz over several contentious scenes, including a depiction of spousal rape involving Trump and his first wife, Ivana Trump (played by Maria Bakalova). That specific allegation, which Ivana Trump later retracted, stems from her divorce deposition in the early 1990s.

“This garbage is pure fiction which sensationalizes lies that have been long debunked,” the Trump campaign’s chief spokesperson, Steven Cheung, stated forcefully before the former president’s own social media post. Cheung signaled imminent legal action ⚖️, declaring, “We will be filing a lawsuit to address the blatantly false assertions from these pretend filmmakers. This ‘film’ is pure malicious defamation, should not see the light of day, and doesn’t even deserve a place in the straight-to-DVD section of a bargain bin.”

Contentious Portrayal Ignites Firestorm

“The Apprentice” charts Mr. Trump’s formative years under the tutelage of Cohn, a McCarthy-era prosecutor known for his aggressive tactics and connections, who became a key advisor and fixer for Trump. The film reportedly portrays Cohn schooling Trump in a ruthless, win-at-all-costs philosophy, exploring themes of ambition, corruption, and the transactional nature of power in New York City during that era.

Sources familiar with the film describe scenes depicting Trump undergoing plastic surgery, allegedly using amphetamines, and the aforementioned highly controversial scene referencing Ivana Trump’s deposition claims. Director Ali Abbasi, known for “Holy Spider” and “Border,” defended his work at Cannes, stating his interest was in exploring the dynamics of mentor-mentee relationships and the systems that enable certain figures to rise.

The portrayal of Roy Cohn, who died of AIDS in 1986 after being disbarred, is also central to the narrative. His influence on Trump’s public persona and political strategies has been a subject of extensive commentary, and the film appears to lean heavily into this dynamic as a foundational element of Trump’s eventual trajectory.

Legal Hurdles and Political Context

While the Trump campaign’s threat of a defamation lawsuit 🗣️ is potent, pursuing such action faces significant legal obstacles, particularly in the United States. Public figures like Mr. Trump must meet a high bar, proving not only that the portrayal is false but also that it was made with “actual malice” – meaning the filmmakers knew it was false or acted with reckless disregard for the truth. Biopics often employ dramatic license, further complicating defamation claims.

The timing of the film’s premiere and the subsequent outcry is particularly charged, occurring just months before the presidential election. Mr. Trump and his campaign have repeatedly framed critical media coverage and legal challenges as politically motivated “election interference,” a theme echoed in their response to “The Apprentice.” The controversy could galvanize both supporters, who see it as another attack on the former president, and detractors, who may view the film’s portrayal as insightful or validating.

Distribution for “The Apprentice” in the United States has not yet been secured, and the intense controversy, coupled with the threat of legal action, could influence potential buyers. However, the significant media attention generated at Cannes might also increase its marketability, particularly among audiences interested in political drama and explorations of power.

The fallout from the Cannes premiere underscores the deeply polarizing nature of Donald Trump’s public image and the ongoing cultural battles surrounding his legacy and political future. As the election cycle intensifies, the film, whether widely seen or not, has already become another flashpoint in the narrative wars defining contemporary American politics.