Vincent Gallo’s phrase “the Donald Trump of Cannes” was his own retrospective description of the hostile press attention surrounding The Brown Bunny at the 2003 festival—not a neutral account of Cannes or proof that journalists coordinated against him. In a 2018 essay, he argued that reporters and critics distorted his words and actions. Roger Ebert’s account of the screening and the film’s later re-edit tells a sharply different story, and the two men disagree on what happened in the room as well as how much the film changed.
What Gallo meant by “the Donald Trump of Cannes”
Gallo wrote in 2018, fifteen years after the festival screening: “In 2003 I was the Donald Trump of Cannes and anything I said or did was twisted and filtered through the righteous tabloid barbarians posing as journalists and critics.” The line appears in his essay for Another Man. It was not something he said at Cannes in 2003; it was his later characterization of the coverage and criticism he said he received.
The comparison is Gallo’s framing of his experience. It should not be mistaken for an independently established finding that the press acted as a coordinated group, or for a neutral description of the festival. A 2018 report by Scroll summarized his essay and its allegations about Ebert’s conduct at the screening.
Why Ebert called it the worst film in Cannes history
After the 2003 Cannes press screening, Ebert delivered the notorious judgment that The Brown Bunny was “the worst film in the history of the festival.” In his retrospective account, he clarified: “That was hyperbole—I hadn’t seen every film in the history of the festival—”. He was explaining the exaggeration, not denying that he had made the statement.
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Ebert described the screening as deeply hostile and chaotic. He also reported that Screen International’s critics’ panel gave the film the lowest score in the history of its annual voting. His account supplies no numerical score, so the result is best understood as a reported record-low ranking, not a figure that can be quantified from the available account.
Did Ebert disrupt the Cannes screening?
Gallo’s 2018 essay alleges that Ebert disrupted the May 19, 2003 press screening with “ranting, moaning and eventual loud singing.” Ebert’s own account confirms that he sang “Raindrops Keep Fallin’ on My Head,” but says it was softly and briefly, during a screening he describes as already out of control.
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Those accounts agree that Ebert sang, but they differ on the manner and significance of his behavior. They do not establish how much his actions contributed to the audience’s response, nor do they settle whether he shaped the reaction at a later public screening. The allegation and Ebert’s account should therefore remain attributed to their authors rather than presented as a settled causal explanation.
How much did the film change after Cannes?
Ebert and Gallo give conflicting figures for the difference between the Cannes version and the later edit. Ebert wrote in 2004 that Gallo removed 26 minutes from a 118-minute Cannes cut. Gallo said in his 2018 essay that the Cannes version was only about eight minutes longer than the finished film. These are incompatible claims by the two men, not independently verified measurements.
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| Question | Roger Ebert’s account (2004) | Vincent Gallo’s account (2018) |
|---|---|---|
| How much shorter was the later version? | 26 minutes removed from a 118-minute Cannes version. | The Cannes version was about eight minutes longer than the finished version. |
| What did the revision accomplish? | Ebert said the re-edit transformed the film and made it work better. | Gallo disputed Ebert’s account of the edit and argued that the screening and its reception had been misrepresented. |
Ebert’s account is reproduced in his 2004 interview with Gallo and discussion of The Brown Bunny. The difference between these versions is an editing question; it is separate from the unresolved question of what happened during the screening.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How Gallo explained the film’s explicit scene
Gallo described the explicit scene as an attempt to place graphic imagery within an emotional context of guilt, anger, regret, anguish and confusion. He also rejected the idea that the film was an attack on feminism or a sexist comment on women’s sexual fulfillment, writing: “The Brown Bunny is not an attack on feminism or a sexist comment on the contemporary woman’s increased demand for sexual fulfillment. Instead it is simply a reminder of the corrupted nature of men when having contact with a less than sober woman.”
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That is the filmmaker’s account of his intentions, not the only possible interpretation of the scene or the film. Keeping it distinct from the film’s reception—and from the dispute over the Cannes screening—helps explain why the controversy cannot be reduced to a single verdict.
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