Introduction
In the tumultuous landscape of contemporary cinema, few filmmakers have dared to tread as boldly as Iranian-Danish director Ali Abbasi. Following the release of his latest film, The Apprentice, Abbasi has found himself at the epicenter of a Hollywood storm that reflects far deeper anxieties within the entertainment industry than merely the controversies surrounding his cinematic ambitions. This article explores the intricate web of reactions, criticisms, and insights surrounding Abbasi’s work, especially in relation to its provocative subject, Donald Trump.
Full Review
After the unveiling of The Apprentice, Abbasi’s lead actor, Sebastian Stan, faced an unexpected challenge when he was invited to a recent awards season event hosted by Variety. Publicists representing other actors reportedly expressed hesitance about allowing their clients to engage in discussions about the film’s controversial subject—Donald Trump. Consequently, the event was canceled, indicating a palpable reluctance within Hollywood to tackle the politically charged themes presented in Abbasi’s film.
“I heard that Variety has this Actor and Actor program for the Awards,” Abbasi reveals. “The publicists for other actors didn’t want their clients to talk about Trump with Sebastian Stan. They just wanted to avoid that.” Despite this initial setback, Abbasi remains optimistic about the shifting reception of his film. He mentions how several Hollywood friends have recently reached out, expressing their willingness to engage with the provocative themes of his work.
Currently serving on the jury at the Marrakech International Film Festival, Abbasi has also found a warm reception among fellow filmmakers. He recounts an encounter with Sean Penn, who, without prompting, began discussing The Apprentice, demonstrating a growing willingness among some in the industry to engage with controversial cinema.
Abbasi’s filmmaking style is characterized by its uncompromising nature, often challenging societal norms and expectations. He acknowledges the discomfort his films evoke: “I’ve heard so many times: why do you insist on showing obscene things or rude things that bother people?” Yet for Abbasi, these uncomfortable narratives are essential. “I don’t like to be a polite filmmaker,” he asserts. “Being polite is already being censored. Self-censored.”
Having faced numerous challenges regarding censorship throughout his career, Abbasi reflects on the complexities of creating art that challenges societal norms. “Every movie I’ve done has started by someone wanting to censor something about it,” he notes, indicating the pervasive pressures artists face in their creative endeavors.
Born in Iran and now residing in Denmark, Abbasi’s unique perspective on American politics is shaped by his experiences with authoritarian regimes. His candid critique of Donald Trump is particularly striking, as he unequivocally labels the former president a fascist. “Even if 99.9% of the American populace would vote for Mr. Trump, he’s still a fascist and he will remain a fascist,” Abbasi states firmly.
Abbasi draws from his Iranian heritage, claiming a keen ability to identify authoritarian figures. “The one good thing about growing up in Iran is you get very good bullshit detectors,” he explains. “I can smell a strongman from miles away. Donald Trump is a strongman with the tactics of a strongman.” In crafting The Apprentice, Abbasi aims to humanize Trump without exonerating him, a nuanced approach that has sparked considerable debate.
He cites fellow filmmaker Mary Harron, who praised the film’s complexity: “By depicting him as a human being, you didn’t let the vulture capitalists or the whole system off the hook.” Abbasi’s critique extends beyond Trump, addressing a broader credibility crisis within American politics. He points to President Biden’s pardon of his son as an example of the inconsistencies in political leadership: “Biden in the ’90s worked really hard to get that harsh anti-drug bill through the Senate, which got a lot of black people behind bars. Now he wants to give his son a full pardon? As someone who supports the rule of law, that’s not very credible.”
The filmmaker warns of dangerous parallels between modern American political dynamics and historical fascist movements, emphasizing how democratic systems can inadvertently allow anti-democratic forces to rise. “There are many examples in the 1920s and 30s where fascist movements came through democratic channels and took over,” he cautions. “That’s one of the Achilles heels of democracy—it gives anti-democratic forces a venue to come and take over.”
Abbasi’s previous works, including the critically acclaimed films Border (2018) and Holy Spider (2022), have garnered international acclaim, establishing him as a significant voice in contemporary cinema. His breakthrough film, Border, won the Un Certain Regard award at the Cannes Film Festival, while Holy Spider premiered in the main competition at Cannes, further solidifying his reputation.
As Abbasi contemplates his next project, he reflects on the rapid technological and social changes surrounding him. “I feel like the world has changed so much and I’ve changed,” he admits. He critiques the phenomenon of individuals becoming disengaged from their surroundings, citing a recent observation in Los Angeles where he witnessed someone mindlessly texting in a driverless cab. “That’s where we are,” he concludes, highlighting a profound disconnection in contemporary society.
Abbasi also addresses the pervasive issue of censorship in the film industry, comparing the American market to authoritarian regimes: “In Europe, we have institutions paid by taxpayers to make sure the market doesn’t censor us,” he explains. “The American market, on the other hand, is a self-censoring mechanism, where economic pressures can effectively silence uncomfortable truths.”
He draws a stark comparison between the censorship experienced under Iran’s regime and what he perceives in America. “If you follow Khamenei’s rule in Iran, it’s not very different in America,” he states. “I don’t want to make everything relative. There is a difference between the United States and Iran. You know nobody’s shot or hanged or goes to do 25 years of jail in the U.S. at least not yet,” he says, hinting at a growing concern for the future.
As for The Apprentice, Abbasi expresses his disappointment over its reception in the U.S. “I’m shocked about the reception in the U.S. of ‘The Apprentice.’ What I’m really shocked about is that the movie is being considered controversial. I’ve said this many times, I still don’t understand. I mean, you’re dealing with someone who is like, it’s like he’s the encyclopedia entry of World Controversial, Donald Trump. I don’t know what’s controversial about the movie.”
For those interested in exploring Abbasi’s thought-provoking work, The Apprentice is available for streaming on platforms like Netflix, Prime Video, Hotstar, and Zee5.
Conclusion
Ali Abbasi’s The Apprentice encapsulates not only a personal exploration of a controversial figure but also serves as a mirror reflecting the intricate and often troubling dynamics of contemporary American politics. As he navigates the complexities of censorship, artistic integrity, and the role of cinema in societal discourse, Abbasi invites audiences to engage with uncomfortable truths. His provocative storytelling challenges viewers to confront the narratives that shape our world, urging us to remain vigilant in the face of authoritarianism, regardless of its guise.
FAQs
1. What is the main subject of Ali Abbasi’s film “The Apprentice”?
The film explores the early life of Donald Trump as a real estate agent, aiming to humanize him while also critiquing his authoritarian tendencies.
2. Why did the Variety awards event get canceled?
The event was canceled due to Hollywood publicists’ reluctance to allow their clients to discuss the film’s subject, Donald Trump, during the awards season event.
3. How does Ali Abbasi characterize Donald Trump?
Abbasi unequivocally labels Trump as a fascist, emphasizing that even if a majority supports him, it does not change his authoritarian nature.
4. What has been the reception of “The Apprentice” in the U.S.?
Abbasi expresses disappointment and shock regarding the film’s controversial reception in the U.S., questioning why it is considered controversial given Trump’s public persona.
5. How does Abbasi view censorship in filmmaking?
He critiques the self-censorship prevalent in the American market, contrasting it with European systems that provide support against censorship.
6. What is Abbasi’s background?
Born in Iran and now based in Denmark, Abbasi’s experiences with authoritarian regimes inform his perspectives on politics and cinema.
7. What themes does Abbasi explore in his films?
Abbasi’s films often tackle uncomfortable truths and challenge societal norms, aiming to provoke thought and discussion among audiences.
8. How does Abbasi connect his experiences to American politics?
He draws parallels between the current American political landscape and historical fascist movements, warning of the vulnerabilities inherent in democratic systems.
9. What other films has Ali Abbasi directed?
His notable works include Border (2018), which won the Un Certain Regard award at Cannes, and Holy Spider (2022), which premiered at Cannes in the main competition.
10. Where can I watch “The Apprentice”?
“The Apprentice” is available for streaming on various platforms including Netflix, Prime Video, Hotstar, and Zee5.
Tags
Ali Abbasi, The Apprentice, Donald Trump, Hollywood, Censorship, Political Cinema, Film Festival, Marrakech International Film Festival, Authoritarianism, Controversial Films