{shortcode-fd111c87a59c22dfb8e9fcd522845ecad719d3b6}

Ali Abbasi’s “The Apprentice,” which made its debut at the Cannes Film Festival, embarks on a daring exploration of Donald Trump’s ascent as a real estate tycoon in late 1970s New York. With a screenplay penned by U.S. political journalist Gabriel Sherman, the film deftly navigates Trump’s early years, centering on his turbulent relationships with his notorious lawyer and mentor, Roy Cohn, and his then-wife Ivana.

From its opening moments, “The Apprentice” is striking, as it plunges viewers into a scene where a young Donald Trump, portrayed with a mix of bravado and vulnerability by Sebastian Stan, dissects the New York elite during a dinner date. This scene establishes Trump’s tone of ambition and insatiable drive, highlighting his quest for validation from his emotionally distant father.

Stan’s portrayal of Trump is both charismatic and vulnerable, capturing the essence of a man driven by a relentless desire to cement his legacy amid a deteriorating cityscape. His performance strikes a delicate balance between confidence and fragility. Stan’s acting as Trump is only enhanced by the character’s complex dynamic with Roy Cohn (Jeremy Strong).

Known for his captivating performance as Kendall Roy in “Succession,” Strong embodies Cohn with a humanity that contradicts the character’s notorious reputation. His portrayal in “The Apprentice” adds depth and authenticity to the narrative, which offers a window into the manipulative yet crucial role Cohn played. Strong’s ability to convey Cohn’s menacing yet supportive relationship with Trump adds complexity to the film, enriching its character-driven narrative. It also emphasizes the film as a fictional biopic rather than a true biopic.

Abbasi’s direction is a deliberate departure from traditional political biopics, placing an emphasis on character development over overt political commentary. The film’s aesthetic — intentionally reminiscent of a worn-out 1980s video tape — serves to present a less sensationalized view of Trump. This visual choice fosters a nostalgic, somewhat sordid atmosphere that reflects the gritty ambition of the era.

The cinematography throughout “The Apprentice” is a muted color palette and static camera work, which enhance the film period’s authenticity. The deliberate framing and lighting choices evoke a sense of claustrophobia and tension, mirroring the high-stakes environment of Trump’s early business dealings. These elements bring the audience into the bustling, often unforgiving world of late 1970s New York, while also emphasizing the personal and professional tribulations faced by its central characters.

The film’s narrative arc focuses on the personal and emotional dimensions of Donald Trump rather than political machinations. “The Apprentice” presents a constructed persona of Trump that is both favorable and flawed. The film’s final scenes, which attempt to integrate political elements, have been criticized for lacking cohesion, diminishing the overall impact of the narrative.

Amidst its festival circuit journey — spanning Cannes, Telluride, and a surprise private screening at the Toronto Film Festival — “The Apprentice” has faced significant controversy. The Trump campaign’s threat of legal action over the film’s depiction emphasizes the challenges of portraying contemporary political figures today. After months of legal turbulence, the film has recently found a U.S. distribution company and will be releasing on Oct. 11, prior to this year’s presidential election.

“The Apprentice” distinguishes itself through its focus on character development and period authenticity, driven by Abbasi’s directorial vision and the compelling performances of Stan and Strong. While it provides a captivating snapshot of Trump’s early ambitions, its balancing act between political and personal elements may not universally resonate with all. The film’s portrayal of Trump coupled with the spotlight of the 2024 U.S. Presidential election ensures that “The Apprentice” will remain a focal point of debate and discussion for a long while to come.

—Staff writer J.J. Moore can be reached at jj.moore@thecrimson.com.