The Apprentice (2024)

Direction: Ali Abbasi
Country: USA 

After the lukewarm reception of Holy Spider (2022), Iranian-born Danish filmmaker Ali Abbasi finds his stride with The Apprentice, his first English-language film. This biopic, penned by journalist and author Gabriel Sherman, employs artful dramatization to delve into the dark, tension-filled world of political intrigue. The film focuses on a young Donald Trump (Sebastian Stan) and his mentor Roy Cohn (Jeremy Strong), a ruthless and influential lawyer whose teachings shape Trump’s infamous playbook for success: attack relentlessly, deny all accusations, and never admit defeat.

Set against the backdrop of 1970s New York, the narrative explores Trump's rise from financial turmoil to prominence, emphasizing his morally ambiguous dealings and relationships. Key figures in his life, including his cold father (Martin Donovan), his first wife Ivana (Maria Bakalova), and his troubled brother Fred (Charlie Carrick), an airline pilot grappling with alcoholism and depression, add depth to the character study. 

The Apprentice is an ugly story with its quibbles and flaws, but I watched it with interest from start to finish. There are a few controversial scenes—it’s hard to determine how much of each is true and how much is false—but the personifications are remarkable, the pace is exciting, and the real ambition felt throughout is an aspect that intrigues. The film, elevated by its two lead actors and the compelling cinematography by Kasper Tuxen (Beginners, 2010; The Worst Person in the World, 2021), is a complex and scary portrait of a man whose thirst for power can have a major impact on our world.

Holy Spider (2022)

Direction: Ali Abbasi
Country: Iran

Holy Spider, Ali Abbasi’s third feature film, didn’t have the desired impact in me because of its narrative process. The director, who teamed up with Afshin Kamran Bahrami in the script, based himself in the real serial murder case that led Saeed Hanaei, an ultra-religious bricklayer and ex-war vet, to kill 16 women between 2000 and 2001 in the holy Iranian city of Mashhad. Abbasi, who marveled many cinephiles in 2018 with Border, deliberately deviated from the facts in an attempt to give misogyny a broader sense. He shot the film in Jordan.

The relatively unknown Iranian-French actress Zar Amir Ebrahimi plays the journalist who would be key in the capture of Saeed, impersonated without brilliancy by Mehdi Bajestani. Even when resisting thrills, this rote serial-killer thriller work minimally, but Holy Spider is too programmatic and a bit academic in its effort to denounce Iran’s religious fanaticism and discrimination against women. Methodically paced, the film keeps you squirming in your seat, but then the characters feel a bit superficial and the homicidal rampage seldom surprising. 

Nadim Carlsen’s artfully unsoiled cinematography adds an air of suffocating rectitude in a sick machismo manifesto that, alternating strong and fragile sections, piles up crime scenarios with intermittent tension. The coldness of the director’s gaze ends up freezing our blood. This is aggravated by the fact that we know upfront who the killer is. The semi-fictional account could have benefited from darker atmospheres, while the legacy of blood and murder left by the proud killer is somewhat turned lighter by the end. Holy Spider doesn’t add up to a fully realized thriller.