Melania Is a Rubbish Film. Of Course, the Man Who Defunded the Arts Loves It.

The film Melania—a biographical drama focusing on the life of the former First Lady of the United States, Melania Trump—has drawn considerable attention, not just for its content, but for the vitriol it’s provoked. Released in an era dominated by polarized opinions and deep divides over the Trump legacy, the film's lack of nuance and its superficial approach to one of the most controversial figures in American politics has left audiences and critics alike shaking their heads in disbelief. Yet, unsurprisingly, it has found favor with a particular group: those who have long disregarded the importance of the arts.
This, of course, is not a coincidence. The film’s patronage and its overwhelmingly positive reception from certain political figures—particularly those with a history of defunding cultural initiatives—speak volumes about its place in the broader political and cultural landscape. The alliance between politics and film is nothing new, but the intersection between political figures who routinely dismiss the significance of the arts and their celebration of Melania feels particularly jarring.
A Shallow Portrait of a Complex Figure
At its core, Melania seeks to humanize the often-stereotyped figure of Melania Trump, but it fails to explore the depth of her personal story or political entanglements in a meaningful way. Instead, the film offers a glossed-over portrayal, painting her as a passive victim of circumstance rather than a complex individual navigating the turbulent waters of global politics, fame, and public scrutiny.
The film seems more interested in sensationalizing her appearance and persona rather than investigating the power dynamics of her relationship with her husband, Donald Trump, or her role in shaping the image of the Trump administration. Instead of a nuanced exploration of her life, the film delivers a series of superficial scenes—awkwardly constructed montages and one-dimensional dialogue—that only serve to reduce the subject to a caricature.
Director and writer are both complicit in creating a film that plays to the basest instincts of its audience, offering little in the way of substantial critique or introspection. There’s no real exploration of how Melania Trump’s upbringing in Slovenia, her career as a model, or her often-contentious relationship with the media and public eye shaped her as a person and political figure. The audience is instead left with an image of a woman who is, for lack of a better term, a pawn in a political drama larger than herself. For a film purportedly about her life, it misses the mark on portraying her as anything other than a passive figure.
The Man Who Defunded the Arts
Enter the political figures who celebrate Melania as a triumph—a group that includes individuals who have a long history of defunding the arts and slashing budgets for cultural initiatives. This relationship between a film like Melania and these policymakers is no accident. The film fits squarely into the ethos of the political establishment that views the arts not as a vital part of society but as a luxury that should be stripped away in the name of fiscal conservatism.
It’s no secret that many of these figures have long sought to dismantle cultural funding, whether through direct cuts to arts budgets or the erosion of educational and creative programs. These are the same politicians who, when given the choice to support the public good, often prioritize tax cuts for the wealthy over investing in the communities that make up the cultural and artistic backbone of society.
So, when they give their endorsement to Melania, a film that seems more interested in capitalizing on political spectacle than producing art of substance, it speaks volumes about how they view cultural production. It’s not about creating meaningful discourse or exploring complex topics; it's about leveraging entertainment to serve a political narrative—one that fits their worldview and supports their agenda.
A Blatant Attempt at Political Branding
While the film presents itself as an attempt at telling the story of Melania Trump’s life, it also works as a piece of political branding. The portrayal of Melania in Melania aligns perfectly with the way she was presented during her time as First Lady: a silent, glamorous figure with little to say or contribute beyond her image.
This lack of depth in the portrayal of Melania mirrors the broader political effort to reduce her to a figurehead. This film, like much of her public image, is crafted to ensure that she remains a symbol rather than an actual person with thoughts, ambitions, and agency.
It’s this absence of substance that allows the film to align so perfectly with the interests of its supporters. Rather than challenging the audience or asking them to engage with complex ideas, it serves up a version of reality that is digestible, simple, and safe. This is the kind of film that appeals to people who prefer things to remain as they are—where art exists not to question the status quo but to reinforce it.
The Question of Art and Value
In the end, Melania raises important questions about the value of art and its relationship with politics. At a time when cultural projects are continually under threat of being underfunded or completely dismantled, the reception of a film like Melania—a film that fails to meet basic artistic standards—serves as a stark reminder of how art can be co-opted for political purposes.
When the same politicians who are responsible for defunding the arts celebrate a shallow and politically convenient piece of cinema, it’s clear that art has become another tool in the political toolbox. Rather than being an outlet for self-expression or social change, it is reduced to a means of serving a specific agenda.
In the case of Melania, the film reflects a troubling trend in political and cultural circles—a move away from investing in art that challenges the status quo in favor of art that serves to reinforce it. Unfortunately, that’s not the kind of art that inspires change or prompts meaningful conversation. It’s art that is content to maintain the status quo, and perhaps that’s exactly what the people who fund it want.
Conclusion
Ultimately, Melania may not be the artistic triumph that some hoped for, but it provides an insightful look at the intersection of politics and culture. It’s a film that reflects the priorities of the individuals who funded it and those who endorse it—priorities that often value spectacle over substance and branding over true artistic exploration.
For those looking for a deeper understanding of Melania Trump or the issues she represents, Melania is a disappointment. But for those more interested in political messaging and reinforcing the status quo, it may be just the right film.