Controversial Film ‘The Apprentice’ Featuring Sebastian Stan as Young Trump Secures Distributor

By JAKE COYLE – AP Film Writer

NEW YORK (AP) — “The Apprentice,” a controversial film featuring Sebastian Stan as a young Donald Trump, has finally secured a distributor after a lackluster reception at the Cannes Film Festival. The film, directed by Danish Iranian filmmaker Ali Abbasi, will be released by Briarcliff Entertainment on October 11 in both U.S. and Canadian theaters. This strategic release date comes just weeks ahead of the U.S. election on November 5, making it a timely addition to the political landscape.

Abbasi has been vocal about his desire to ensure the film reaches audiences before they head to the polls. Despite initial disinterest from major studios and distributors, Abbasi expressed frustration on social media in early June, suggesting that powerful individuals might be preventing the film’s release. His determination paid off when Briarcliff Entertainment, known for distributing impactful films like the 2022 documentary “Gabby Giffords Won’t Back Down” and the thriller “Memory” starring Liam Neeson, picked up the project. The indie distributor is led by Tom Ortenberg, a seasoned industry professional who previously helped release Michael Moore’s “Fahrenheit 9/11” and backed the Oscar-winning “Spotlight” during his tenure at Lionsgate and Open Road.

“The Apprentice” delves into Trump’s ascent in New York’s real estate scene under the mentorship of defense attorney Roy Cohn, portrayed by Jeremy Strong. The film takes a dramatic turn late in its narrative, depicting an alleged rape incident involving Trump and his wife Ivana, played by Maria Bakalova. This portrayal references Ivana Trump’s 1990 divorce deposition where she accused Trump of rape—a claim he has consistently denied, and which Ivana later clarified as a feeling of violation rather than a literal accusation.

The film’s release has stirred significant controversy. Steven Cheung, communications director for the Trump campaign, labeled the film as “election interference by Hollywood elites” and disparaged it as “pure malicious defamation.” Cheung’s vehement critique included threats of legal action following its Cannes premiere, branding the movie as “pure fiction.”

In response to the backlash, Abbasi has extended an olive branch, expressing willingness to engage in dialogue with Trump or his campaign. He suggested a private screening followed by a discussion about the film’s context to address any concerns directly.

The film’s journey to distribution has been marked by its provocative content and potential legal challenges. Yet, its upcoming release signifies a critical moment in political cinema, aiming to influence public discourse in the weeks leading up to a pivotal election. Briarcliff Entertainment’s involvement underscores the film’s potential impact, aligning with their history of distributing thought-provoking and socially relevant films.

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