Made of car rides and cold silences, ‘Melania’ is so polished it slips out of the first lady’s hands

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I’m reluctant to label the film “Melania” as propaganda, because it doesn’t portray Melania Trump in a positive light. Even if it tried to be a satirical take on the First Lady, it wouldn’t have been much different. Surprisingly, this film is exactly what Melania Trump wanted to produce—her company received $40 million for the rights—and no one advised her that it was a costly mistake.

The film “Melania” didn’t offer advance screenings, and on opening day, journalists made up half of the small audience at my local theater. The film’s star described it not as a documentary, but as a carefully crafted artistic statement meant to evoke feelings through visuals. Essentially, the movie consists largely of footage of Melania entering and exiting cars. It felt so exclusive, I’d estimate she’s being paid around a million dollars per hour for it.

When the president first sees his wife on the airplane landing strip, surrounded by the film crew, he’s overjoyed. “A movie star!” he exclaims with a smile. He’s pleased for a couple of reasons. He finally gets to connect with his wife in public, and she even playfully offers her cheek for a quick kiss – the most affectionate gesture they share.

Melania has generously allowed film director Brett Ratner, who hasn’t directed a film since 2017 when multiple women accused him of sexual assault, to film her in short segments until the day she returned to the White House. The year is 2025, and Donald Trump is set to be inaugurated as the 47th president – either in 20 days or 13, it’s hard to keep track. Time seems to slip by, marked only by her changing outfits – a white jacket, black leggings, and a leather skirt – though even counting those becomes unclear as Melania tries to keep track.

Television

I was at the first screening of “Melania” at the Grove, and it was so unexpected! As we were going in, someone dressed up as Melania Trump was there, greeting everyone! It was a fun surprise.

So, Melania’s doing a movie, and in a really quick voiceover, she says it’s going to be about family, her business, charitable work, and what it took to become First Lady – again. Honestly? That’s a pretty ambitious description, because the film barely scratches the surface of most of those things. It feels like she listed a bunch of topics and then… didn’t really show them.

This isn’t a deeply personal look into Melania’s life. It doesn’t share how she and Donald connected, and I didn’t see anything about her relationship with her stepchildren – Ivanka, Tiffany, Eric, and Don Jr. – or any attempt to address the rumors of tension between them. I did see her looking at Barron with real affection on TV, and she seems very confident he’ll achieve great things. Honestly, the only conversation I recall is her saying goodbye as he walked away.

We get a glimpse into Melania Trump’s world, including her signature high heels and the ever-present, imposing figure of her bodyguard. The series shows behind-the-scenes moments in the White House, like the frantic five-hour rush to replace President Biden’s furniture with Donald Trump’s—a chaotic scene underscored by dramatic music. However, when it comes to her feelings, Melania’s narration insists that beneath her reserved exterior lies a profound compassion for others.

Melania argues that everyone needs to defend their basic rights, emphasizing that our shared humanity connects us all, regardless of background. The scene feels strangely detached – almost like a dark comedy. We see her watching news coverage of the 2025 Los Angeles fires by herself, and she tells us she’s deeply saddened by the images. She clearly makes an effort to connect with the gravity of the situation.

The first lady avoids discussing politics, except to express her sadness that so many people wish her husband ill. Instead, she meticulously shares her thoughts on everything she uses, from the glasses she drinks from to the clothes she wears. The story begins with her carefully adjusting the neckline of her inaugural blouse and directing the tailors to alter it, confidently predicting the outfit will one day be displayed in a museum. While she’s likely correct, what’s most striking is how readily everyone around her agrees with her, even when one person quietly voices a doubt after she leaves the room: “I don’t think we can cut it.”

Voices

Commentary: ‘Melania’ isn’t a documentary. It’s a cynical and stupefying piece of political propaganda

Despite being presented as a documentary, ‘Melania’ functions more as traditional propaganda, offering a distorted and unusual perspective.

The film “Melania” feels like a preview of what she might do after her time as First Lady – perhaps appearing as a judge on a reality TV show. It highlights her background in architecture and her modeling career, from Slovenia to Rome to New York, where she learned to evaluate designs and materials. The film also recalls her visible efforts during her husband’s last term, like redesigning the Rose Garden and decorating the East Wing. Her dress designer creates a gown that seems to represent Melania herself – flawlessly made with no visible seams, which he proudly calls “a mystery.”

In the documentary, Melania rarely speaks directly to people, and often relies on her staff to express her views. This sometimes feels like a reality show, where employees like event planner David Mann would present something to her – like the inauguration invitations – and then repeat her opinions, even simply stating what color she preferred. It reminded me of being a child and being prompted to write a thank-you note. To be fair, Melania does frequently say ‘thank you’ to others.

One of the first lady’s assistants, who came to the U.S. from Laos as a young child, says working near her feels like achieving the American dream. The film points out that both women are immigrants, but doesn’t discuss how the Trump administration viewed immigration. It’s important to remember that last year, the U.S. deported hundreds of Laotian refugees – many of whom were brought here as small children after the Vietnam War – back to Laos. Three refugees from Slovenia were also deported.

Watching “Melania,” I realized something kind of unsettling: it felt like even capturing her doing something normal, like eating, would be considered shocking in this documentary. It’s a strange feeling! The filmmaker, Mann, actually suggested she offer caviar on golden eggs as a little appetizer, telling her ‘white and gold is you.’ It’s a funny little detail, but then she casually admits her favorite colors are white and black – a tiny bit of drama that feels oddly significant given the whole vibe of the film.

Another surprising moment happens in the back of a car when Ratner gets Melania to admit her favorite musician is Michael Jackson. He then asks her favorite song, and she says “Billie Jean.” That song was already featured in the film, alongside music by artists like the Rolling Stones, Aretha Franklin, and Elvis – likely contributing to the film’s high cost. The soundtrack also includes a piece from the score of Paul Thomas Anderson’s film, “Phantom Thread.” Despite this, the driver plays “Billie Jean” again, and Melania lip syncs – it’s the film’s most memorable scene.

California

Los Angeles Metro reported that ads featuring Melania Trump were vandalized following the shooting of U.S. citizen Alex Pretti by federal immigration agents during protests in Minneapolis.

Documentary filmmakers are naturally curious and focus on presenting actual facts. Michael Ratner, known for directing big-budget action movies that have grossed over $2 billion in Hollywood, has never created a documentary – and, like the First Lady, I believe his current film doesn’t qualify as one either.

I particularly liked a few moments as they were: Melania quickly ending a phone call with Trump when he began bragging about his Electoral College victory (“It was a big win,” she said calmly), Melania gently prompting her husband to claim his greatest achievement would be as someone who brings peace and unity, and Trump’s annoyance that his inauguration competed for viewers with college football championships. He complained, “We’ve had this date for hundreds of years. They probably did it on purpose.”

The book, “Melania,” reveals a telling scene of the presidential couple politely saying goodnight after three inaugural balls, suggesting they sleep in separate bedrooms. Their marriage remains a mystery. The author, Ratner, notes frequent hand-holding but a lack of deeper connection. When discussing the one-year anniversary of Melania’s mother’s death, her husband’s detached comment to the camera – “This one had a hard time with that” – comes across as impersonal, almost like he’s giving an instruction to a staff member.

“Melania” isn’t a compelling or even enjoyable film. It feels repetitive and detached, like watching a calming screensaver – you lose track of everything except superficial concerns. However, the film surprisingly captures the isolated world Melania Trump inhabited, constantly moving between protected spaces. It will likely prove valuable for future historians trying to understand this particular moment in time, though, like everything associated with her, it feels expensive and carefully constructed.

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2026-02-03 00:02