Here’s a shocking truth: despite the media frenzy surrounding Melania, the documentary about former First Lady Melania Trump, the film failed to crack the UK’s top 25 box office rankings in its opening weekend, landing at a disappointing No. 29. But here’s where it gets controversial: while the film’s performance was underwhelming, it wasn’t the catastrophic flop many predicted. Directed by Brett Ratner, the movie pulled in £32,974 across 155 cinemas, averaging just £212.80 per screen. Sure, that’s a far cry from the reported $75 million (£54.6 million) Amazon invested in its distribution and promotion, but is it fair to label it a total disaster? Not exactly.
Ahead of its UK premiere, ticket sales were described as ‘soft,’ and many screenings were sparsely attended—some even played to empty rooms. However, there were exceptions: Vue Islington, for instance, saw packed houses filled with journalists eager to catch the film after Amazon opted not to preview it. The Independent reported attending a near-empty screening in Stratford, where just four audience members were present, two of whom were reporters. And this is the part most people miss: while the UK reception was lukewarm, the film actually exceeded expectations in the US on its opening day, grossing $2.9 million (£2.1 million) across 1,778 cinemas. Yet, it still couldn’t outshine Iron Lung, an independently financed horror film made by YouTuber Mark Fischbach, which grossed $21 million (£15.3 million) on a mere $3 million budget.
Speaking of Iron Lung, inspired by David Szymanski’s 2022 horror game, it secured the No. 4 spot at the UK box office with £948,731, outperforming even the week’s big release, Jason Statham’s Shelter. Meanwhile, Chloé Zhao’s Oscar-nominated Hamnet claimed the top spot, earning £1.4 million and bringing its total to £14.8 million. But let’s circle back to Melania: the film chronicles the 20 days leading up to Donald Trump’s second inauguration in January 2025. Since its release, reviews have been overwhelmingly negative, with a dismal 10% score on one platform. Yet, viewers on the same site gave it a 99% rating—a clear show of support for Trump. Is this a case of art imitating politics, or politics hijacking art?
In a scathing one-star review for The Independent, Nick Hilton questioned whether Melania is ‘post-modern post-entertainment’ rather than a genuine documentary. He noted that Melania often appears to be playing a staged version of herself, with shots composed as deliberately as Ratner’s work on X-Men: The Last Stand. ‘This is somewhere between reality TV and pure fiction,’ Hilton wrote. But here’s the question: does that make it any less compelling, or is it simply a reflection of our media-saturated age? Let us know what you think in the comments—is Melania a missed opportunity, or a fitting portrayal of its subject? The debate is wide open.
