Melania Trump’s Amazon documentary, simply titled MELANIA, is set to debut this weekend in more than 1,400 theaters across the United States and in over 27 countries. However, early reports suggest that ticket sales for the film have been underwhelming, with some screenings reportedly showing no sales at all, raising questions about audience interest and the film’s box office prospects.
The documentary, produced by Amazon’s MGM Studios, chronicles the life of the former First Lady of the United States. While her husband, former President Donald Trump, has promoted the film heavily on social media, calling it a “MUST WATCH” and claiming it is “selling out, FAST,” social media users have begun to share images indicating otherwise. One Twitter user, Travis Akers, highlighted that for the 9:55 p.m. opening night screening in the Jacksonville metro area, “not a single ticket [had] sold” at what he described as the busiest theater in the region.
Other theatergoers shared similar reports, posting screenshots from ticketing apps showing empty rows and zero reservations for other locations screening the documentary. These early images sparked a flurry of online discussion, as viewers and industry observers debated whether the film might face the unusual situation of showing to empty auditoriums.
A common question among casual viewers was how theaters handle screenings when no tickets have been sold. On X (formerly Twitter), users offered insights based on industry experience. One explained that theaters generally allow the movie to play unless they have the option to replace it with a film in higher demand, such as a blockbuster like SpongeBob. If the studio mandates a fixed schedule for opening weekend, the film is typically run as planned, even if seats remain empty.
The conversation also moved to Reddit, where former theater employees shared anecdotes about how unsold screenings are handled. One user explained that movies scheduled in the middle of the day will usually play regardless of audience attendance. End-of-day screenings, by contrast, may only run for a short period before projectionists turn off the projector to conserve equipment, particularly if no one shows up. Another former worker described letting the film run for about twenty minutes, providing a final window for last-minute ticket buyers, and shutting it down if no one arrives. These comments gave insight into the practical challenges theaters face when showing low-demand releases.
The underwhelming early ticket activity comes despite a substantial investment by Amazon. Reports suggest that the company paid approximately $40 million for the production of MELANIA and an additional $35 million to cover distribution in over two dozen countries and to arrange a premiere at the Kennedy Center. Considering the financial outlay, early indications of empty screenings could be concerning for the streaming and distribution giant.
Donald Trump has been an enthusiastic promoter of the documentary, using his social media platforms to urge the public to watch the film. On January 27, he posted that tickets were “selling out, FAST,” a statement seemingly at odds with reports from some theater locations. Social media users, however, have continued to share images suggesting that demand may be far below what the former president claimed.
The documentary’s reception has already generated significant discussion online, with social media users debating not just ticket sales, but the broader cultural relevance of a film focused on Melania Trump. Some commentators noted that interest might be limited to audiences already supportive of or curious about the former First Lady, rather than general moviegoers seeking entertainment.
Industry observers also noted that films with political figures at their center face unique challenges, particularly when released in a crowded marketplace. January is typically not the busiest period for new releases, but studios often rely on strong marketing campaigns to generate opening-weekend buzz. For MELANIA, the combination of high expectations, substantial production costs, and early reports of poor ticket sales could pose a risk to Amazon’s return on investment.
As anticipation builds toward the official release date, some theater operators have emphasized that empty screenings are not unusual and that studios often pay to secure guaranteed slots for opening weekend. The practical implications of unsold tickets are largely logistical, affecting staffing and scheduling rather than preventing the film from being shown entirely. In other words, even if few or no tickets are sold, theaters may still run the film to comply with studio contracts or to maintain scheduled programming.
Social media commentary has reflected both humor and skepticism about the situation. Users joked about the irony of highly promoted films playing to empty auditoriums, while others speculated on the potential embarrassment for a high-profile release with significant financial backing. On Reddit, former cinema workers recounted experiences where films with little audience presence were either paused or terminated mid-showing to optimize theater operations.
The modest ticket activity has led some to draw comparisons with other streaming and documentary releases. Unlike blockbuster franchise films, documentaries often rely on a combination of streaming availability and niche audiences to reach profitability. Even so, the size of the investment in MELANIA—including the international distribution and high-profile premiere—suggests that Amazon and MGM anticipated a wider theatrical draw than early reports indicate.
While Amazon remains committed to the release, the early social media buzz may influence perceptions ahead of the weekend. With audiences already discussing empty screenings online, the film faces scrutiny not only for its content but for its apparent commercial performance.
Beyond ticket sales, the documentary has drawn attention for its depiction of life in the White House, Melania Trump’s personal experiences, and the broader cultural narrative surrounding the former First Lady. Critics and commentators have speculated on the potential reception of the film in different markets, noting that international audiences may be less familiar with Melania Trump’s personal story compared to American viewers.
The situation also underscores broader trends in the entertainment industry, where heavily promoted celebrity documentaries can attract polarized attention. Even with significant marketing budgets and high-profile premieres, audience interest does not always translate to strong box office performance. In the case of MELANIA, early indicators suggest a disconnect between promotion and actual ticket sales, at least in some markets.
As the official release approaches, all eyes will be on opening weekend attendance and whether Amazon can generate momentum through additional promotion, word-of-mouth, or streaming tie-ins. While Donald Trump continues to tout the film as a must-see event, anecdotal evidence from social media users and theater reports highlights that actual demand may not yet match those claims.
Ultimately, the release of MELANIA will test both Amazon’s investment strategy and the public appetite for celebrity political documentaries. Early reports of empty screenings provide a striking contrast to the expectations set by promotional campaigns and financial outlays, emphasizing the unpredictable nature of theatrical distribution in the digital age. How audiences respond over the next few days may determine whether the film becomes a modest success, a streaming-only story, or an example of high-profile overhype in contemporary cinema.
Emily Johnson is a critically acclaimed essayist and novelist known for her thought-provoking works centered on feminism, women’s rights, and modern relationships. Born and raised in Portland, Oregon, Emily grew up with a deep love of books, often spending her afternoons at her local library. She went on to study literature and gender studies at UCLA, where she became deeply involved in activism and began publishing essays in campus journals. Her debut essay collection, Voices Unbound, struck a chord with readers nationwide for its fearless exploration of gender dynamics, identity, and the challenges faced by women in contemporary society. Emily later transitioned into fiction, writing novels that balance compelling storytelling with social commentary. Her protagonists are often strong, multidimensional women navigating love, ambition, and the struggles of everyday life, making her a favorite among readers who crave authentic, relatable narratives. Critics praise her ability to merge personal intimacy with universal themes. Off the page, Emily is an advocate for women in publishing, leading workshops that encourage young female writers to embrace their voices. She lives in Seattle with her partner and two rescue cats, where she continues to write, teach, and inspire a new generation of storytellers.
