Ali Abbasi’s Cannes sensation and Donald Trump origins story The Apprentice opens in North America on Friday (October 11) in 1,740 theatres in what will be one of the more closely watched independent box office launches of recent times.
The production is already wrapped in its own mythology. The story of young Trump played by Sebastian Stan coming under the tutelage of notorious McCarthyite and attack dog attorney Roy Cohn (Jeremy Strong) in 1970s and 1980s New York features a rape scene and was threatened with a lawsuit by Trump’s campaign team around the time of its world premiere on the Croisette.
And it opens less than one month before the US election on November 5, when voters either return Trump to the White House or choose his Democratic rival and sitting vice president Kamala Harris.
After a no-show from US buyers despite becoming one of the most talked-about selections in Cannes, Briarcliff Entertainment stepped up and closed the acquisition several months after the festival on August 29, right after executive producer James Shani bought out investor Kinematics following “creative differences”.
Two days later there was a sold-out screening at Telluride Film Festival and less than a week after that, Toronto International Film Festival hosted an invite-only tastemaker presentation. As the film opens across the United States and Canada, The Apprentice heads into awards season as a contender.
Briarcliff founder and owner Tom Ortenberg knows a thing or two about handling provocative, difficult films. The industry veteran took Spotlight all the way to the best picture Oscar while running Open Road and released box office smash Fahrenheit 9/11 at Lionsgate.
“When releasing a controversial film, one that is too hot to handle for others, the most important thing is you have to be fearless,” Ortenberg told Screen. “The movie industry in general, the theatrical distribution of a motion picture, is not for the faint of heart, even at the best of times.”
Ortenberg did not attend Cannes as he was fulfilling producer duties on the set of the independent film Nickels. He watched a link on the recommendation of colleagues on the ground. He shared their enthusiasm. He thought it would sell for a lot of money.
“And then all the stories started hitting about how all of the American distributors, both big studios and [independent distributors], were walking away from the film,” said Ortenberg, who has been doing the trade press rounds in advance of the release. “And not because the film wasn’t great, and not because they didn’t think there was money in it, but because of cowardice.”
Ortenberg continued, “I’ve made a fair amount of my reputation over the last few decades making and distributing films that were considered too controversial by some. I don’t go out seeking controversy, but I certainly don’t shy away from it and that is why I do this, it really is. I’m in the film business because I love film and I love films that challenge people.”
Ortenberg declined to specify how much Briarcliff paid for The Apprentice. He was eager to point out, however, that one needs to look at the big picture as Abbasi’s film embarks on its release.
“Everybody will look at opening weekend and have their opinions, but we look at this as a marathon,” said Ortenberg. “We know the picture gets great word of mouth. We’ve had enough screenings to thunderous applause, and not just the requisite standing ovations in Cannes or the film festival [circuit], but real people.”
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