In a striking turn of events, Paul Thomas Anderson and Jonny Greenwood, the acclaimed director and composer behind the 2017 film *Phantom Thread*, have formally requested the removal of their music from the recently released documentary on Melania Trump. This appeal stems from allegations of a breach of agreement, igniting a debate over artistic rights and the ethical implications of documentary filmmaking.
The Music Controversy
In a statement issued to *Variety*, Anderson and Greenwood expressed their discontent regarding the use of a score from *Phantom Thread* in the documentary titled *Melania*, directed by Brett Ratner. They highlighted that, although Greenwood does not hold the copyright, Universal Pictures failed to consult him about this third-party application of his work, thus violating his composer agreement. The duo has called for the immediate removal of the music from the film, underscoring the importance of respecting artistic collaboration and contractual obligations.
Film Reception and Financial Performance
*Melania*, which offers a purportedly intimate look at Melania Trump’s life from her origins as Slovenian model Melania Knauss to her current role as First Lady, has faced widespread criticism since its debut. Reviewers have condemned the film as lacklustre and uninspiring, with the *Guardian*’s Xan Brooks delivering a particularly scathing zero-star evaluation, labelling it “deadly” and devoid of any redeeming qualities. Despite this negative reception, the documentary has managed to gross $13.35 million domestically within two weeks—a notable figure for a documentary—largely buoyed by support from organised groups of Republican women who view the film as a political statement. However, the film’s box office performance took a significant hit, experiencing a 67% drop in revenue during its second week.
Amazon’s Investment and Political Connections
The financial stakes surrounding *Melania* are extraordinary. Amazon MGM paid a striking $40 million for the streaming rights and allocated an additional $35 million for its theatrical marketing—figures that are unprecedented for a non-fiction film outside of nature or music genres. These substantial investments have led to speculation that Amazon’s motivations may extend beyond mere profit, potentially seeking to strengthen ties with Donald Trump, who has been actively supporting Ratner’s return to prominence following allegations of sexual misconduct during the #MeToo movement.
In November 2025, reports surfaced indicating that Trump had played a pivotal role in reviving *Rush Hour 4*, a sequel to the beloved buddy-cop franchise, by lobbying Larry Ellison, the largest shareholder at Paramount Skydance. This intervention followed a legal settlement between Trump and Paramount Global related to a CBS News interview, further illustrating the complex interplay of politics and entertainment.
Critical Acclaim Amidst Backlash
During a recent award ceremony, Anderson took a moment to acknowledge Brooks’ harsh review of *Melania*, referring to it as a “gilded trash remake” of Jonathan Glazer’s *The Zone of Interest*. Anderson remarked on the review’s quality, describing it as “one of the best pieces of writing” he had encountered. Such comments underscore the ongoing dialogue about the film’s artistic merit, juxtaposed against its political implications.
Why it Matters
The unfolding controversy surrounding the *Melania* documentary serves as a significant case study in the intersection of politics, art, and media ethics. It highlights pressing questions about the ownership and use of creative works, particularly in politically charged contexts. As the lines between entertainment and political propaganda blur, the implications for both artists and audiences become increasingly complex. This situation not only challenges the integrity of documentary filmmaking but also invites broader reflections on how narratives are constructed and the ethics of representation in a deeply polarised society.
