documentary

Before starting a cosmopolitan life as an artist in Mexico City, queer filmmaker Efraín Mojica came of age between Riverside and the rural town of Penjamillo, Michoacán: home to an annual jaripeo, or a Mexican rodeo competition that takes place every Christmas.

Every year, cowboys convene to test-drive their masculinity, namely by swigging handles of tequila and precariously mounting the backs of bucking bulls. These heroic shows of manhood long fascinated Mojica, who frequented jaripeos with family — and quietly forged a community with other locals who diverged from Mexican gender norms.

That community would become the cast of “Jaripeo,” the debut documentary feature film by Mojica and co-director Rebecca Zweig, which premiered at this year’s Sundance Film Festival in Park City, Utah. Shot in the style of cinéma vérité, Mojica appears as both a narrator and protagonist. Zweig, who first encountered Mojica in Seattle’s punk scene, follows them behind the lens as they interview members of the LGBTQ community in and around Penjamillo.

“[Mojica] invited me to Michoacán in 2018 to spend Christmas with their family,” Zweig tells The Times, the day after the film’s Jan. 25 premiere. “As soon as I was at the rodeo with them, I became obsessed with the performance of masculinity.”

“[Zweig] was like, ‘How do you feel about making a documentary [about] the rodeos?’” Mojica tells The Times. “I said, ‘Yeah, but it’s got to be gay.’”

Produced by Sarah Strunin, the documentary begins with a pastoral scene from Mojica’s pickup truck as they overlook the grasslands of Michoacán. Pink party lights and techno music are woven into scenes of bandas and revelers in tejana hats, who kick up dust as they dance inside the rodeo ring. The crew flashes strobe lights in the cornfields, lighting up the figures of sexy cowboys sifting through the crops to find one another — drawing parallels to queer nightlife in the cities.

“On New Year’s there’s a rodeo in Acuitzeramo, with like 10,000 people and big speakers with heavy bass,” said Mojica. “What’s the big difference between a city rave and a rancho jaripeo, you know? They’re doing the exact same thing.”

“I wanted to blur all the lines and make these abstract sequences,” says Zweig. “And I thought, how much is that gonna be allowed in a formal [film] institution? I want to shout out public media, [because] when we got the Open Call Fund from ITVS, they took a chance on us as first-time filmmakers. [Marlon Riggs’ documentary] ‘Tongues Untied’ was also funded by ITVS — the legacy of queer cinema and documentaries in the U.S. has been supported by public media.”

“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” says Noé Margarito Zaragoza, center, who stars in the new film “Jaripeo.”

(Cat Cardenas / De Los)

Each interview adds more color and dimension to Mojica’s memories of the village they left long ago, no longer suspended in the past. Mojica visits Arturo Calderón, a local rodeo clown known as “La Pirinola,” who performs in drag; Calderón lets the camera roll as he paints his eyelids electric blue.

They later stop by the local church and the disco with Joseph Cerda Bañales, a bearded makeup artist who brandishes long stiletto nails to the rodeos. Despite efforts from the festival organizers, and even a letter from Sen. John Curtis (R-Utah), Cerda was unfortunately not granted entry into the U.S. for the Sundance premiere.

“Joseph is the mayor of his town,” says Mojica. “He’s the president of the church. He runs the folkloric ballet. He does everything. It’s not that there’s no more traditional culture… People just want to keep the community together. [It means] holding a bunch of truths [and] contradictions at the same time.”

Mojica even shares flirtatious moments onscreen while interviewing Noé Margarito Zaragoza, a dashing and stoic ranchero who lives discreetly as a gay man.

“It’s exciting, but at the same time I’m a little nervous,” says Margarito of coming out in the film. “Part of my family doesn’t know what’s going on with my life, so I don’t know how they’re going to take it. But my main family members — my siblings, my dad — well, they feel content and happy [for me], so I’m going forward and giving it my all.”

“We never talked about my queer identity,” says Mojica of their own family, some of whom flew in for the premiere of “Jaripeo” at the Yarrow Theatre in Park City. Mojica planned a belated coming out talk at dinner the night before; the discussion never happened.

“I choked up,” says Mojica. “I thought, ‘OK, I’m just going to give them a little heads up of what the film’s actually about.’ But I could not vocalize a single word. My eyes started tearing up. So I was like, ‘See you tomorrow!’”

It was after the screening, during an open Q&A, when Mojica’s mother quelled the artist’s fears in one fell swoop.

“What was the reception from your family after seeing the film?” an audience member asked Mojica in Spanish — unaware that their family had just watched it for the first time with everyone else in the theater.

To that, Mrs. Mojica Rubio rose from her seat and introduced herself “as a very proud mamá” who loves her child “unconditionally.”

After a beat, she exclaimed: “It’s the 21st century!”

Mrs. Mojica Rubio’s show of support was promptly met with resounding cheers from the audience. “My mom also approached [Margarito] and said, ‘I’m going to give you a mother’s hug, because you deserve it,’” says Mojica, who appears misty-eyed as they recount the scene.

In a time of increasing hostility against LGBTQ people and immigrants in the United States, to behold the strength of a mother’s love — and the solidarity across communities — affirms the purpose of such a film, with a power that transcends states, governments and institutions.

“People in different countries [have] this antiquated idea that Mexico is this little ranchita that’s hateful, that they’re gonna beat you if you’re queer. But we really care for each other,” Mojica says.

“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” added Margarito. “So let’s hope [the movie is] a success.”

What’s the difference between Brett Ratner and Leni Riefenstahl? Riefenstahl, for all her many sins, was technically innovative; Ratner (unless you count an almost fetishistic fascination with first lady footwear), not so much.

But in the end, they are both political propagandists, collaborators if you will, with heads of state determined to create a narrative that is, at best, at odds with reality and, at worst, a targeted attempt to distort it.

Am I saying that “Melania” is as horrifically significant as “Triumph of the Will”? No, I am not. But it is motivated by the same base forces, and as fun as it might be to watch Jeff Bezos lose most of the $75 million Amazon paid for the purchase and then marketing of the film, it is important to remember that.

As Melania Trump said herself at the film’s premiere: “Some have called this a documentary. It is not. It is a creative experience that offers perspectives, insights and moments.”

A “creative experience” for which the first lady, who serves as narrator and executive producer, reportedly received about $28 million.

Money she very much does not earn.

Anyone who goes into “Melania” hoping to see even a glimpse of what it is like to be first lady, or indeed Melania Trump, will find instead a super-long version of “we followed [fill in the blank] as they got ready for the Oscars.”

Only in this case, it’s Donald Trump’s second inauguration, which Ratner (given his first big job since being accused by six women of sexual misconduct) frames as the Second Coming, from the lingering shots of the sleek lines of the motorcade to the use of “His truth is marching on” from “Battle Hymn of the Republic” as the first couple takes the stage at one of the inaugural balls.

(And in case you think that’s not obsequious enough, at the end of the inaugural festivities, Ratner, off camera, says, “sweet dreams, Mr. President,” which honestly could have been the title of this film.)

Most of the “action” involves the first lady making entrances: off private jets, out of big black cars and into well-appointed rooms. There, Trump and her designers wax rhapsodic over a gown designed to disguise any seams, admire an inaugural dinner menu that begins with caviar in a big golden egg and discuss the furnishings that will be moved in as soon as the Bidens move out.

These mind-numbing glories are interrupted just long enough for Tham Kannalikham, an interior designer in charge of the White House transition, to talk about how her family immigrated to America from Laos when she was 2 — the opportunity to work in the White House is, for her, the ultimate American dream. Beside her, Trump, also an immigrant, remains silent.

Other things happen. Trump has a video conference with French First Lady Brigitte Macron to discuss initiatives to end cyberbullying, meets with Queen Rania of Jordan to discuss helping foster children and comforts former Hamas hostage Aviva Siegel. Siegel, whose husband, at the time of filming, is still a hostage, provides the film’s one real emotional moment, despite having been clearly included as an opportunity for Trump to reveal a bit of personal kindness (and some political messaging).

We follow Trump as she and her husband attend Jimmy Carter’s funeral, during which her narration describes the pain of her mother’s death the year before, and as she “sneaks” the cameras into a room where her husband is rehearsing his inaugural speech.

There she suggests, with a completely straight face, that he add the word “unifier” to “peacemaker” in his description of what he hopes to be his legacy, a term he then uses in his speech the next day.

Throughout it all, the first lady remains relentlessly poised and personally inaccessible, lending new and literal meaning to the term “statuesque.”

Given the nature of the film’s subject, and the fact that she is the one literally calling the shots, no one with half a brain could expect to see any interesting or authentic “behind-the-scenes” moments (Melania wearing sweats or counting her breakfast almonds or, I don’t know, sneezing). A brief scene in which the remarkably tone-deaf Ratner attempts to get her to sing along to her favorite song, Michael Jackson’s “Billie Jean,” elicits (finally!) a genuine laugh from her, and while his decision to repeatedly zoom in on her admittedly well-shod feet becomes increasingly creepy, it at least offers drinking-game potential.

Even so, “Melania” is as cynical a piece of filmmaking as exists since the art form began.

Listening to her describe the seriousness with which she takes her duties; her love, as an immigrant, for this great nation; and her dedication to making life better for all Americans — especially children and families — I was reminded of the climactic scene in “A Wrinkle in Time,” when young Charles Wallace has been ensnared by the soothing rhetoric of the evil brain-washing IT.

The superficial blandness of “Melania” isn’t boring; it’s calculated, infuriating and horrifying.

The first lady is describing an alternative universe of peace, love and unity while her husband has unleashed armed Immigration and Customs Enforcement agents to terrorize and detain children and adults (many of whom are citizens or here in this country legally) and, in at least two cases, kill American citizens who protest their actions. She wants to help children and families while her husband slashes federal assistance programs and holds school funding hostage. She would have us believe she is battling cyberbullies while her husband, the president of these United States, regularly engages in lies, direct threats and character assassination on social media.

President Trump is many things but he is not a unifier — he believes, as he has assured us time and again, in winning, and, as he has also said and shown, he will choose retribution over reconciliation every time.

Melania Trump is, of course, not her husband. But this film is little more than a 90-minute campaign ad. Which, given the fact that Trump cannot legally run for president again, should be cause for much concern.

Many criticized the decision to release “Melania” mere days after federal agents killed Alex Pretti and Renee Good in Minneapolis, and excoriated those notables, including Apple CEO Tim Cook, who chose to attend an early celebratory screening that included “let them eat” cookies with “Melania” scrawled in the icing.

For the kind of person who makes, and buys and distributes, a film that purports to be a “documentary” and is really just old-fashioned, through-the-looking-glass propaganda, however, it’s actually the perfect time.

Why worry about the federal government killing its own citizens when we can all ooh and aah over the fact that the first lady’s inaugural gown is constructed so that none of the seams show? Especially if it makes her husband happy.

I was just getting settled in my seat for the first showing of “Melania” at the Grove cineplex when Melania Trump walked in.

OK, it wasn’t the Melania Trump, as in the first lady. But it was a reasonable facsimile.

The impersonator, followed by a man filming with his phone, strode in like a model, flinging her hair back and smiling as she addressed the six people — many of them critics from various press outlets — in the auditorium who were among the first in Los Angeles to see “Melania,” the controversial documentary that features the first lady as star and producer.

“Hi, everybody. I want to welcome you all to my movie,” the impersonator said in a Slovenian accent. She wore a stylish dark pantsuit and high heels, a frequent motif in the film which chronicles the real Melania Trump in the 20 days leading up to the second presidential inauguration of her husband, Donald Trump.

After a few more words of greeting, the impostor Melania flashed another smile as she exited.

I was stunned and extremely frustrated that I didn’t have time to capture the moment. It’s rare to find yourself in the presence of a first lady —even a fake one.

During the film, my fellow viewers were mostly silent, although there were a few murmurs of laughter as Melania Trump outlined the burdens of coordinating the correct outfit and decor for her re-entry to the White House.

“My creative vision is always clear, and it’s my responsibility to share my ideas with my team so they can bring it to life,” she says at one point.

Later in the film, when Donald Trump was formally introduced at the inauguration as the 47th president, one older woman sitting near the front of the theater applauded. And I could see her smiling as, onscreen, the first couple made their way through the White House following the ceremony.

“Being hand in hand with my husband at this moment is very emotional,” she says. “Nobody has endured what he has over the past few years. People tried to murder him, incarcerate him, slander him. But here he is. I’m so very proud.”

I hoped that Melania would be around in the lobby as we left the theater to ask us how we liked the film. But I was disappointed. Melania had left the building.

When Melania Trump showed up on movie screens in 2001, it was a joke.

The former fashion model and her spouse, Donald Trump, then only a real estate mogul, played themselves in the Ben Stiller comedy “Zoolander,” about a dimwitted male supermodel. She silently looked on as her husband gushed at an awards show red carpet: “Without Derek Zoolander, male modeling would not be where it is today.”

The cameo offers a glimpse of the couple, who in 2017 would enter the White House as president and first lady. As they move past the first anniversary of their second stint in Washington, D.C., Melania has largely stayed away from the spotlight.

But this week the first lady is preparing for her close-up. She is center stage as star and executive producer in the documentary “Melania” hitting theaters Friday. Positioned as a companion to her best-selling memoir, “Melania” has been shadowed by controversy since its announcement several months ago. The project marks a comeback attempt by Hollywood filmmaker Brett Ratner, the director of the documentary, who was exiled from Hollywood in 2017 following charges of sexual misconduct by multiple women, including actor Olivia Munn. He continues to deny the accusations.

Amazon MGM Studios paid $40 million to license the project, and sources said it is spending around $35 million for marketing and promotion. Melania is skipping the traditional TV talk show circuit, opting for an appearance on Fox News, which featured an exclusive interview with her on Tuesday — her first since returning to the White House. The following day, she rang the opening bell at the New York Stock Exchange.

Trailers for the film have popped up on several networks including CNN, a frequent target of President Trump’s ire, and outdoor advertising has been installed in several major cities, including Los Angeles.

The project, which is slated to stream on Prime Video after a brief theatrical run, arrives as the president confronts sinking approval ratings and the most turbulent phase to date of his second term, which includes controversies over his handling of the economy, international relations, the demolition of the White House’s East Wing for a planned ballroom, and the long-delayed release of the Epstein files.

More pointedly, the lead-up to the official premiere, slated for Thursday at the Kennedy Center in Washington, has collided with an unexpected juggernaut: national outrage over the deadly shootings of two Minneapolis residents by federal officers carrying out his aggressive anti-immigration campaign.

The continuing protests over the deaths of Renee Good and Alex Pretti, as well as the backlash after Secretary of Homeland Security Kristi Noem and Deputy White House Chief of Staff Stephen Miller labeled them as domestic terrorists, has placed even more uncertainty over how “Melania” will fare with moviegoers.

Industry forecasters were divided on whether the film will be a hit or a bomb. Firms specializing in box office projections estimate the opening weekend will fall within the $5 million range.

“It’s very hard to predict whether people will show up, given the unique nature of the film and the marketplace,” said one veteran box office analyst who asked not to be identified.

On Wednesday, the film was pulled from theaters in South Africa, where it was slated to open on Friday, after the distributor announced it would no longer release the title, citing “recent developments,” according to a New York Times report.

Domestically, “Melania” is competing in a crowded movie weekend against the highly anticipated survival thriller “Send Help” from veteran filmmaker Sam Raimi (“Drag Me to Hell”), the horror film “Iron Lung” from popular YouTuber Markiplier (Mark Edward Fischbach), and “Shelter,” with action star Jason Statham.

President Trump kisses his wife, First Lady Melania Trump, during the presidential inauguration in 2025. The documentary will highlight the lead-up to the event.

(Julia Demaree Nikhinson / Associated Press)

Adding to the uncertainty on the film’s performance, the analyst said, is whether fans of Ratner, whose resume features several blockbusters including the “Rush Hour” trilogy, will show up for a documentary about the first lady. According to press notes, “Melania” follows the first lady in the 20 days leading up to the 2025 presidential inauguration as she orchestrates plans for the event and the family’s move back to the White House. The film’s trailer, released last month, does not offer much more insight.

During both of Trump’s terms in the White House, his wife has been described as mysterious and sphinx-like. Some Washington watchers have praised her for what they call her independence and individualism, while others say her accomplishments fall short of previous first ladies such as Michelle Obama, Hillary Clinton and Nancy Reagan.

Anita B. McBride, director of the First Ladies Initiative at American University, said that the position of first lady has been defined in distinct ways by every woman who has served in that capacity.

She said in an interview that the current first lady has exhibited a confident persona “that has never been defined by expectations. She now has the benefit of experience after operating during her first term in a very hostile environment. She is sure-footed with a staff that supports her, and she has made it clear that she is in control.”

The White House on Saturday hosted a VIP black-tie preview of “Melania,” with a guest list that included Amazon CEO Andy Jassy, former boxer Mike Tyson and Apple CEO Tim Cook, who this week criticized the shootings of Good and Pretti, calling for de-escalation in Minneapolis.

Rep. Alexandria Ocasio-Cortez of New York was among the politicians blasting the event, which took place hours after Pretti was killed.

“Today DHS assassinated a VA nurse in the street, [Atty. Gen.] Bondi is attempting to extort voter files, and half the country is bracing on the eve of a potentially crippling ice storm with FEMA gutted,” she wrote in a post on X. “So what is the President up to? Having a movie night at the White House. He’s unfit.”

In the interview on Fox News a few days later to promote the film, the first lady was asked about the controversy in Minneapolis.

“I’m against the violence, so please if you protest, protest in peace,” she said. “We need to unify in these times.”

Twenty-one-year-old Moez al Shreiti was given up by his Tunisian mother at birth but is absolutely determined to find out where he comes from. His search takes him on a roller-coaster journey to find answers to the question that’s dominated his young life. This observational film follows his sometimes painful search with all its obstacles, going to courts and hospitals and trying to get hold of official records. Moez often gets frustrated by the whole process, and it takes an emotional toll on him, but with the help of music, the support of close friends and a “psychodrama” group, he finds ways of coping. His foster family and community workers also keep him grounded in the face of the barriers he encounters while looking for the answer to the burning question deep within him.

The Beckhams feud with their son Brooklyn will take centre stage in a new documentary, which will reveal all about the world’s reaction to the shocking statement by Brooklyn about his parents

An explosive Beckham documentary will air tomorrow night, as more details are revealed about their feud. Channel 4 have announced a new documentary about the family feud following Brooklyn Beckham‘s bombshell statement.

In a message shared on social media, Brooklyn insisted he was not being controlled and was finally “standing up for himself”. He also accused his family of trying to ruin his relationship with Nicola Peltz.

“I have been silent for years and made every effort to keep these matters private. Unfortunately my parents and their team have continued to go to the press, leaving me with no choice but to speak for myself and tell the truth about only some of the lies that have been printed,” he shared on social media.

READ MORE: Harper Beckham’s sweet four-word message to mum Victoria after Brooklyn’s attackREAD MORE: Nicola Peltz morphs into Meghan Markle and Brooklyn left competing for her attention

“I do not want to reconcile with my family. I’m not being controlled, I’m standing up for myself for the first time in my life. For my entire life, my parents have controlled narratives in the press about our family. The performative social media posts, family events and inauthentic relationships have been a fixture of the life I was born into.”

A new Channel 4 documentary will now air where the details about their strained relationship and the widespread attention the feud received will be examined. The Beckhams have remained together and united since the shock allegations, as experts in PR, showbiz personalities and psychologists discuss why the Beckhams are such a hot topic of conversation.

Just yesterday, Victoria posted an ode to her family after she was awarded a huge accolade at Paris Fashion Week.

“I’m so honoured to be named a Chevalière de l’Ordre des Arts et des Lettres by the French Ministry of Culture. I have always deeply admired the French aesthetic and the seriousness with which it treats fashion: as a form of art,” she shared.

“To be recognised here and embraced in this way, is a profound privilege — one that reflects decades of commitment and dedication. My sincere thanks to the French Minister of Culture, Rachida Dati for this honour. Thank you also to business partners who believed in me, my family, and especially David — my husband, and original investor. I couldn’t be more grateful, you are my everything xx.”

Her husband David responded with his own post: “We are so proud of you and all that you have achieved @victoriabeckham. Being named a Chevalière de l’Ordre des Arts et des Lettres by the French Ministry of Culture… nobody deserves it more than you x.”

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In late 2024, shortly after her husband, Donald Trump, was reelected as the 47th president of the United States, Melania Trump saw an opportunity: a documentary centered on her life.

The film, a follow-up to her eponymous memoir, would offer a window into the first lady’s private, sphinx-like world, in contrast to that of her bombastic, spotlight-seeking husband.

To direct the film, a fly-on-the-wall chronicle of the 20 days leading up to the inauguration, Melania turned to an unlikely choice: Brett Ratner, who only a few years earlier had been all but banished from Hollywood.

The controversial filmmaker had been recommended by her agent and “senior advisor” Marc Beckman, who had a long-standing relationship with Ratner.

“He’s one of the most talented directors of our lifetime,” said Beckman, who negotiated the unusually lucrative $40-million deal with Amazon MGM Studios to distribute the film.

“He actually accounts for like $2 billion in box-office receipts,” Beckman told The Times. “He really understands not just how to create something that’s gorgeous, but also how to reach the passions and emotions of his audience.”

The timing was fortuitous. Ratner was looking for a comeback vehicle from his heady days as one of the industry’s most successful filmmakers. And Beckman was among several prominent figures in Trump’s orbit who could help make that happen.

President-elect Donald Trump kisses his wife, Melania, before his inauguration on Jan. 20, 2025.

(Saul Loeb / Associated Press)

Brash, rich and successful, Ratner, 56, was the director and producer of a string of blockbuster films, the “Rush Hour” franchise and “X-Men: The Last Stand” among them. He was a consummate Hollywood dealmaker and habitué of red carpets who held court at the legendary basement disco inside of his equally storied Beverly Hills estate.

Then, in the fall of 2017, The Times reported on sexual misconduct allegations against Ratner made by multiple women. At the time, Ratner strenuously denied the claims.

It was the height of the #MeToo movement and a range of sexual misconduct allegations toppled the careers of powerful men, from disgraced producer Harvey Weinstein to “Today Show” host Matt Lauer and CBS Chairman Les Moonves. Weinstein was later convicted of rape in Los Angeles and sentenced to 16 years in prison.

Almost immediately, Ratner’s reign as blockbuster king was over.

Beckman, however, viewed Ratner first and foremost as a director. They had a relationship that stretched back to 2007. Beckman’s agency hired Ratner to direct a sultry Jordache jeans campaign, inspired by the iconic photographer Helmut Newton, whose work was edgy, provocative and erotically charged. The campaign, shot at the Chateau Marmont, featured a mostly topless Heidi Klum — in one ad she is brandishing a riding whip.

Beckman declined to say whether he had talked to other potential directors, nor would he address any of the claims made against Ratner. He stressed that it was Ratner’s “massive talent” that put him in the director’s chair. “We focused on Ratner’s capabilities as being a superior director,” he said.

The documentary, “Melania,” is set to premiere at the Kennedy Center for the Performing Arts in Washington — which the president is trying to rename the Trump Kennedy Center — on Thursday, followed the next day by a global theatrical release.

In addition to the “Melania” documentary, a three-part docuseries also filmed during the inauguration run-up about the first lady that Ratner directed and is part of the same Amazon deal, is set to air on the streamer later this year, according to Beckman.

Brett Ratner, center, and the stars of “Rush Hour 3,” Jackie Chan and Chris Tucker, at the film’s Los Angeles premiere party in 2007.

(Matt Sayles / Associated Press)

Then there is the much-buzzed-about fourth installment of “Rush Hour.” It has been widely reported that Ratner will direct the $100-million movie to be distributed by Paramount.

The long-stalled project came about after President Trump was said to have urged his friend Larry Ellison, who bankrolled his son David’s acquisition of Paramount, to revive the franchise.

Not everyone is happy about Ratner’s return.

“It speaks to the larger issue that these men who didn’t take responsibility for their actions are coming back into society as if nothing happened,” said Nancy Erika Smith, a partner at Smith Mullin in Montclair, N.J., who has litigated numerous harassment cases, including that of former Fox anchor Gretchen Carlson.

Reached by phone, Ratner declined to respond to questions, saying, “I don’t talk to or cooperate with the Los Angeles Times.”

He referred questions to his London-based publicist, who did not respond to a detailed list of questions.

An early love of movies

Growing up in Miami, Ratner once said that “I eat, sleep, breathe the movies.” He was raised by a single mother, Marsha, who had him at 16, and his grandparents Mario and Fanita Presman, Jewish Cubans who immigrated to Florida during the 1960s. (His paternal grandfather, Lee Ratner, founded d-Con, the rat poison company.) At 12, he was an extra, appearing as a boy on a raft, during a pool scene at the Fontainebleau Hotel in the 1983 Brian De Palma film “Scarface.”

Early on, Ratner garnered a reputation for his ambition, relentless drive and a preternatural ability to surround himself with famous friends and mentors.

While a student at New York University in the late 1980s, he befriended Def Jam co-founder Russell Simmons, who made him his protégé, tapping Ratner to direct music videos.

At 28, he directed his first film, the 1997 buddy comedy “Money Talks,” starring Charlie Sheen and Chris Tucker. The movie grossed $48 million on a $25-million budget, cementing Ratner’s reputation as a highly bankable director.

In 2012, Ratner and Australian billionaire investor James Packer co-founded RatPac Entertainment. A year later, they merged with the film financing company Dune Entertainment, founded by Steven Mnuchin (Trump’s future Treasury secretary), that had bankrolled massive hits like “Avatar.”

The rebranded RatPac-Dune quickly entered into a $450-million slate financing deal with Warner Bros. to fund up to 75 movies, including Oscar winner “Gravity” and box-office hit “Wonder Woman.”

Ratner himself served as an executive producer on such acclaimed films as the epic western drama “The Revenant.”

“I was not the best student, but I was the hardest-working kid that I know, and it paid off,” said Ratner when the Friar’s Club honored him with a comedy achievement award in 2011.

A self-styled jet-setting playboy, Ratner dated actor Rebecca Gayheart and tennis star Serena Williams. He cocooned himself inside a circle of much older, famous cinema legends that he considered his mentors such as Robert Evans, Roman Polanski and Robert Towne.

The late movie producer Robert Evans was part of a clutch of cinema legends that Ratner considered his mentors.

(Getty Images)

Ratner’s Beverly Hills mansion, Hilhaven Lodge, the estate once owned by “Casablanca” actor Ingrid Bergman, was the scene of numerous raucous parties filled with celebrities and models.

After he made a series of vulgar and inappropriate comments while promoting his film “Tower Heist” in 2011, including saying that “rehearsal is for f—,” using an anti-gay slur, he dropped out of producing the Academy Awards broadcast.

Still, Ratner frequently groused that he was misunderstood.

“I don’t drink; I don’t do drugs. Do I like to have fun? Yeah. Do I like to enjoy myself, enjoy my life? Yeah. But I’m not a decadent person. … I’m just a nice Jewish kid from Miami Beach who loves movies and pretty girls,” he said in an interview with the Jewish Journal.

Over the years, Ratner sat on the boards of several charities such as Chrysalis, a group that helps homeless people; and the Ghetto Film School. In 2013, he donated $1 million to the Academy Museum of Motion Pictures and he actively supported the Simon Wiesenthal Center, where he was a trustee, and the Museum of Tolerance.

When Patty Jenkins presented him with the Tree of Life humanitarian award at a Jewish National Fund dinner in 2017, the director of “Wonder Woman” and “Monster” shared that he financed her thesis film.

In 2017, when Ratner received a star on the Hollywood Walk of Fame, he was cheered on by actors Edward Norton, Dwayne Johnson and Eddie Murphy, producer Brian Grazer and Warner Bros. chief Kevin Tsujihara.

(Chris Delmas / AFP via Getty Images)

That year, RatPac-Dune’s co-financing deal with Warner Bros. delivered a series of hits, including “It,” “Wonder Woman” and “Dunkirk.” He received a star on the Hollywood Walk of Fame.

Fallout over allegations of misconduct

Then, in November, The Times published detailed allegations against Ratner made by six women who accused him of harassment, groping and forced oral sex. Actor Olivia Munn claimed that Ratner masturbated in front of her when she delivered a meal to his trailer on the set of the 2004 film “After the Sunset.”

At the time, Ratner’s attorney Martin Singer rejected the women’s claims, saying that his client “vehemently denies the outrageous derogatory allegations that have been reported about him.”

The Times published another report weeks later that included additional sexual misconduct allegations from several other women. The report also named Simmons, the Def Jam co-founder, as a witness and alleged perpetrator in several of the episodes.

Both Ratner and Simmons disputed the women’s accounts and denied their allegations. Simmons subsequently faced several rape accusations, which he has denied.

The professional repercussions were swift. Ratner’s agents at WME dropped him, as did his publicist, and projects were put on hold. Ratner parted ways with Warner Bros.

“I don’t want to have any possible negative impact to the studio until these personal issues are resolved,” he said in a statement.

In April 2018, Warner Bros. officially cut ties with Ratner, declining to renew its massive $450-million co-financing deal with RatPac-Dune.

Two years later, Ratner’s name surfaced amid the tangled Hollywood sex scandals involving British actor Charlotte Kirk, whose allegations brought down two studio chiefs: Warner Bros. CEO Kevin Tsujihara and NBCUniversal Vice Chairman Ron Meyer, with whom she claimed to have had sexual affairs.

British actor Charlotte Kirk accused several Hollywood power players including Ratner of “victimizing her.”

(Paul Archuleta / FilmMagic)

In a sworn court declaration, Kirk said she was victimized by Tsujihara, Ratner, Packer and Millennium Films CEO Avi Lerner, stating that the men “coerced me into engaging in ‘commercial sex’ for them and their business associates.”

She further accused Packer, whom she had dated for a period, and Ratner of having “sexually exploited me,” with Ratner sending her “crude sexual text messages, and offering me as an inducement to his business partners,” according to her declaration.

Attorney Singer, who represented the men, “categorically and vehemently” denied any wrongdoing on the part of his clients.

Cast out of Hollywood, Ratner appeared to escape the piercing scrutiny by living large. He was spotted variously at the five-star Faena Hotel in Miami and sunning on a yacht off Saint-Barthélemy in the Caribbean.

Ratner’s initial attempts to get back behind the camera went nowhere. In 2021, he announced plans to direct a long-stalled Milli Vanilli biopic with Millennium Media, but soon after, Millennium Media stated that it was no longer involved with the film.

In Trump’s orbit

Despite the setbacks, the seeds for Ratner’s eventual comeback had been sown. Known as a world-class schmoozer, Ratner cultivated numerous ties to people affiliated with Trump.

For several years, he was partners with Mnuchin, who served as Treasury secretary during Trump’s first term, through their production and financing company RatPac-Dune.

Billionaire Len Blavatnik, owner of Warner Music Group, bought Packer’s stake in RatPac-Dune through his Access Entertainment in 2017, making him Ratner’s partner for a time. Blavatnik, through his company, contributed $1 million to Trump’s first inauguration.

Then there’s Arthur Sarkissian, the producer of the original “Rush Hour” movie. He also produced the 2024 Trump-friendly documentary, “The Man You Don’t Know.”

Steven Mnuchin, who was Treasury secretary during Trump’s first term, was a partner with Ratner through their company RatPac-Dune Entertainment.

(Alex Brandon / Associated Press)

Ratner also developed a friendship with Israeli Prime Minister Benjamin Netanyahu, who has a long-standing relationship with Trump. Ratner was the prime minister’s guest at the United Nations General Assembly in September 2023. He posted a picture on his Instagram standing behind a seated Netanyahu and his wife, and next to attorney Alan Dershowitz, himself a longtime advisor and friend of Trump’s.

That year, several Israeli media outlets reported that Ratner had obtained Israeli citizenship after he posted the passbook Israel issues to new immigrants on his Instagram story with his name “Brett Shai Ratner” captioned in Hebrew.

“There’s a strong community in south Florida that is close to Trump,” said someone who worked with the family but was not authorized to speak publicly. “Brett has relationships with a bunch of them; it was just a matter of connecting the dots.”

Ratner no longer appears to live at his Hillhaven estate (which is currently listed for lease at $82,500 a month), while there have been sightings of him at Mar-a-Lago.

Not long after the presidential election, Ratner was given unprecedented entrée to Melania Trump and became a part of her trusted inner circle.

Beckman said Ratner was given “remarkable” access to her life. “There were behind-the-scenes meetings,” he said. “She’s a very private person and for the first time she was allowing the cameras to cover her, her family, her philanthropy and of course her business endeavors.”

Many of the women who came forward in 2017 to level their accusations against Ratner declined to speak about him now or to comment on his return to directing.

In the 2017 Times article, actor Jaime Ray Newman alleged that during a flight Ratner made sexually inappropriate comments and showed her nude photos of his then-girlfriend.

“I said my piece a couple of years ago and have moved on,” Newman, who stars in the Netflix hit “The Hunting Wives,” told The Times. “I feel really good and brave in what I did.”

The “Melania” trailer is in heavy rotation online and was shown during the NFL playoffs. Billboards loom over cities and on buses.

Talking to reporters on Air Force One earlier this month, the president praised the upcoming film.

“I’ve seen pieces of it, it’s incredible,” Trump said. “Everybody wants tickets to the premiere. I think it’s going to be great.”