Yesterday, a friend and I saw the documentary, Melania. I didn’t know what to expect, but I knew when I first saw the trailer that I had to see the film. I’ve always been fascinated with the behind-the-scenes operations of The White House, in particular, the transition from one administration to another. How they turn The White House around from the outgoing first family to the incoming in a day is a symphonic coordination of production. Melania covers the 20 days before President Trump’s second inauguration with style, sophistication, and unprecedented access solely from the perspective of Melania Trump.

As someone who loves high fashion, I was particularly impressed with her attention to detail. Given she was a fashion model, this didn’t surprise me, but it was how she interacted with her stylist Hervé Pierre, and his team that made her wardrobe come to life. I’ve often said to my friends and colleagues, it’s all in the tailoring. We all know the feeling of comfort and confidence when you’re wearing a well-fitted garment.

Melania wasn’t just about the runway; it also illuminated her charitable work and causes that are not only notable but vital to children in their early formative years.  From her Be Best campaign, which focuses on the well-being of children, to her work within the foster care system and opioid awareness, these are causes that all can embrace. Her video call with Brigitte Macron of France to combat cyberbullying and Queen Rania of Jordan discussing children’s welfare illuminated her commitment to the issues she holds dear. But it was her meeting with Aviva Siegel that was particularly moving. Siegel, who was taken hostage by Hamas in 2023 and since released, was pleading for the release of her husband, Keith, who was still held captive at the time the documentary was made (Keith Siegel was freed in February, 2025).

As a filmmaker, I was carefully watching how the documentary was put together. Sure, there were a fair number of shots that could be set up in advance, but given this story was moving between New York City, Palm Beach, Florida, and Washington, D.C., you could see there were numerous handheld, quickly produced shots, to keep the viewer with the story.  Personally, I think it all worked as it kept me engaged. What I also think worked was the fact that the documentary didn’t stay on any particular subject for long. It gave you enough to get an understanding and then moved on. One area that was particularly touching was Melania’s reverence for her late mother, Amalija Knavs, who passed away just over a year ago. A textile worker, it was her mother who introduced Melania to design, sewing, and, of course, fashion. That inspiration and tutelage have been evident throughout her career.

According to numerous reports, Melania has earned over $8 million at the box office, establishing it as the best debut of a documentary in 10 years. For a project that certain corners had their doubts about, and reviewed bombed it even before release, these box office results proved, yet again, that audiences will decide what success looks like.  

Speaking of the start of some success, I’m delighted to report that Serpentine: A Cold War on Ice, was nominated for Best Screenplay at the L.A. Live Film Festival. This early acceptance of Serpentine in the film festival market is encouraging. With the Winter Olympics starting this week, I’m hopeful that the media attention on the sport will pique the interest of festivals to consider the screenplay.

The circuit.