朋友、同事和评论家们揭示了唐纳德·特朗普背后的真实美国故事，讲述了这名胆大妄为的商人排除万难当选美国总统的历程。 　　在 20 世纪 70 年代，唐纳德走出他父亲的阴影并做成了一笔巨额的房地产交易，随后将目光投向了特朗普大厦的建造工程。 　　在 20 世纪 80 年代，唐纳德涉足赌场行业并努力拓展自己的品牌，作风奢华挥霍无度。但他的个人生活却因股市崩盘而瓦解。 　　离婚和婚外情的消息登上头条新闻后，面临经济崩溃危机的特朗普打算利用股市东山再起。 　　在 21 世纪，借助真人秀再度成为明星的特朗普将目光投向了终极的权力宝座：白宫。

Follows Trump's White House return bid, featuring Michael Wolff, Trump Jr., campaign advisers and Stormy Daniels. Covers alleged assassination attempt, Biden debate fallout and Harris' potential candidacy.

Follows Trump's White House return bid, featuring Michael Wolff, Trump Jr., campaign advisers and Stormy Daniels. Covers alleged assassination attempt, Biden debate fallout and Harris' potential candidacy.

这是斯塔顿总统（丹尼斯·奎德 Dennis Quaid 饰）这几年来头一遭翻开报纸，没想到，关于自己的负面新闻以排山倒海之势扑面而来，大受打击的斯塔顿顿时陷入了郁郁寡欢之中，行为举止也日渐怪异。作为斯塔顿的得力助手，萨特（威廉·达福 Willem Dafoe 饰）感到十分焦急。竞选在即，不断下跌的支持率让他所支持的这位竞选人离连任的目标越来越远。 　　为了力挽狂澜，无奈的萨特只得将斯塔顿搞到了目前最火爆的真人秀“美国梦”的特约评审席上。经过层层选拔，奥默（Sam Golzari 饰）和莎莉（曼迪·摩尔 Mandy Moore 饰）两名选手站在了斯塔顿的面前，而他们其中之一，竟然是危险的恐怖分子。谁将获胜，决定权在斯塔顿的手中，他的选择将直接关系到国家的安危。

这是斯塔顿总统（丹尼斯·奎德 Dennis Quaid 饰）这几年来头一遭翻开报纸，没想到，关于自己的负面新闻以排山倒海之势扑面而来，大受打击的斯塔顿顿时陷入了郁郁寡欢之中，行为举止也日渐怪异。作为斯塔顿的得力助手，萨特（威廉·达福 Willem Dafoe 饰）感到十分焦急。竞选在即，不断下跌的支持率让他所支持的这位竞选人离连任的目标越来越远。 　　为了力挽狂澜，无奈的萨特只得将斯塔顿搞到了目前最火爆的真人秀“美国梦”的特约评审席上。经过层层选拔，奥默（Sam Golzari 饰）和莎莉（曼迪·摩尔 Mandy Moore 饰）两名选手站在了斯塔顿的面前，而他们其中之一，竟然是危险的恐怖分子。谁将获胜，决定权在斯塔顿的手中，他的选择将直接关系到国家的安危。

本片讲述的是发生在明尼苏达州工人大罢工，展现当时人们的种种心态，还有工会和公司进行谈判的全过程，以及工人发生的激烈冲突，但是这场大罢工还是没有结果。

"... A description of the form of AMERICAN DREAMS is deceptively simple: along a narrow border at the bottom of the screen a handwritten transcription of Arthur Bremer's diary crawls from right to left; a series of chronological baseball cards from the career of Hank Aaron are shown in a steady cadence, first the front (usually a photo), then the reverse side (batting statistics, etc.). Finally, overtitles indicate by year the sources of the soundtrack's fragmentary speeches and songs. ... AMERICAN DREAMS is far from unrestricted in its horizons. A clear 'sense of the ending' is limited by two inevitable acts: Bremer will shoot Wallace; Aaron will break Babe Ruth's record. As a work energized by an autobiographical impulse, Benning nonetheless hides himself in the shadows of time. It isn't necessary to know that Bremer was Benning's neighbor in Milwaukee or that the filmmaker counts among his greatest achievements pitching batting practice to the Milwaukee Braves in 1962. As externally shaped and motivated as it appears to be, AMERICAN DREAMS is marked by a dark and self-conscious meeting of personal and public desires ...." - Paul Arthur, The Appearance of History in Recent Avant-Garde Film. 　　American Dreams is chock full of concrete, discrete elements that comprise an American iconography of the past three decades. The film encourages a kind of perverse nostalgia for 'the good old days': Nixon's 'you don't have Nixon to kick around any more'; Elvis' response to questions about his gyrating style and the rumour that once he shot his mother; Patty Hearst's 'Tania' statement; Senator Ribicoff's reference to 'Gestapo tactics in the streets of Chicago'. All of which is punctuated by the music of the period and set against a composite image of Hank Aaron memorabilia (arranged chronologically, 1954-76, the span of the champion home-run hitter's major league career), and the sordid diary jottings of the would-be assassin, Arthur Bremer.

每个人来美国之前，他的“美国梦”都是一种对美好生活的幻想，而来到美国之后，即使现实状况没有想象那么好，大部分人还不愿意从这个梦里边醒来。人们愿意在此遭罪，期待有一天实现自己的美国梦。