TORONTO — In the Donald Trump biopic “The Apprentice,” famed New York lawyer Roy Cohn lays out three important rules to Trump, his young disciple: “Attack, attack, attack” is the first; “Admit nothing, deny everything” is the second; and “No matter what, claim victory and never admit defeat” is last.

For anybody who’s watched cable news in, oh, the last decade, that all seems pretty familiar. Trump became a cultural figure, first in business and then on NBC's competition show "The Apprentice" before taking the Oval Office. The controversial new movie charts the future 45th president’s rise in the 1970s and ‘80s, but includes echoes of his political era throughout. (“Make America Great Again” even makes an appearance.)

The Oscars also have rules, though it’s an unwritten one that comes to bear here: Play a real-life figure and you’ve got a decent shot at a nomination. Which is a boon for “Apprentice” stars Sebastian Stan and Jeremy Strong, who give outstanding performances as Trump and Cohn, respectively.

“The Apprentice” (in theaters Oct. 11), which had a surprise screening at the Toronto International Film Festival Thursday, starts with a young Trump working for his father Fred's real estate company. Donald dreams of opening a luxury hotel in Manhattan, but starts out going door to door collecting rent. He meets Cohn, who first helps the Trumps in court and then becomes a mentor to young Donald, who listens intently as Roy rails about civil rights, makes hateful remarks and says leftists are worse than Nazis.

Trump takes to heart Cohn’s advice ― there are only two kinds people in the world, “killers and losers” ― his hotel business takes off and turns him into a Manhattan power player. There’s a turn, however, and the movie focuses on how Donald’s confidence and cruelty takes hold. He cheats on wife Ivana (Maria Bakalova), rapes her in one of the film's most disturbing sequences, and shuns Cohn after he becomes sick and eventually dies from AIDS.

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The most fascinating aspect of “Apprentice” is watching its leads change their characters and body language to drive home that cinematic shift. Stan starts out playing Trump as an awkward, lonely sort before taking on more of the mannerisms that we’ve seen on our national political stage in recent years. (Even though he doesn’t quite look like Trump, the voice and inflections are spot on.) Strong is initially a scary and discomforting presence before gradually turning more sympathetic as his disease sets in and Trump worries he’ll get sick just being around his former friend.

Granted, it’s not normal for a biopic about a presidential candidate, and a high-profile film-festival one at that, to arrive less than a month before the election. It likely won’t sway voters either way, whether they see Trump as monarch or monster, and Trump’s more likely to threaten legal action than show up to the Oscars. But the movie’s worth paying attention to because of its powerful acting, from Stan, Strong and Bakalova. (In a packed best-actor lineup, one of Stan’s biggest rivals will be himself, since he’s also phenomenal in this month's “A Different Man.”)

One of the best scenes, in which Trump and an ailing Cohn let each other have it with all the venom they can muster, wraps up a lot of the core themes in a movie filled with meta commentary. Trump’s screwed over Cohn, and the lawyer tells him “you were a loser then and you’re still a loser” and that he’s “lost the last traces of decency you had.”

“What can I say, Roy,” Trump snarls. “I learned from the best.”