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Watch Cruella (2021), Story, Stars, Reviews & All You Want To Know About A Great Movie

Aug 19, 2022
Cruella (2021), All You Want To Know & Watch About A Great Movie

Watch Cruella (2021), Story, Stars, Reviews & All You Want To Know About A Great Movie


Cruella (2021)

A live-action prequel feature film following a young Cruella de Vil.

Cruella is a 2021 American crime comedy film based on the character Cruella de Vil from Dodie Smith’s 1956 novel The Hundred and One Dalmatians.[10] The film was directed by Craig Gillespie with a screenplay by Dana Fox and Tony McNamara, from a story by Aline Brosh McKenna, Kelly Marcel, and Steve Zissis.[11] It is the third live-action adaptation in the 101 Dalmatians franchise and serves as a reboot and an (alternate) origin story for the title character.

Emma Stone stars as the title character, with Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste, and Mark Strong in supporting roles. Set in London during the punk rock movement of the 1970s, the film revolves around Estella Miller, an aspiring fashion designer, as she explores the path that will lead her to become a notorious up-and-coming fashion designer known as Cruella de Vil.[12]

In 2013 Walt Disney Pictures announced the film’s development with Andrew Gunn as a producer. Stone was cast in 2016 and also serves as an executive producer on the film alongside Glenn Close, who portrayed Cruella in the previous live-action adaptations, 101 Dalmatians (1996) and 102 Dalmatians (2000). Principal photography took place in England between August and November 2019.

Cruella premiered in Los Angeles on May 18, 2021, the first major red carpet event since the COVID-19 pandemic began, and was released in the United States theatrically and simultaneously available on Disney+ with its Premier Access feature on May 28. The film received generally positive reviews with critics praising the performances (particularly Stone, Thompson, and Hauser), Gillespie’s direction, visual style, costume design, production values, and soundtrack, but criticising its screenplay.

It grossed over $233 million worldwide. The film earned two nominations at the 94th Academy Awards, including Best Makeup and Hairstyling, winning Best Costume Design. It was also nominated in the former category and won in the latter at the 27th Critics’ Choice Awards and 75th British Academy Film Awards while Stone was nominated for Best Actress in a Motion Picture – Comedy or Musical at the 79th Golden Globe Awards. A sequel is in development, with Stone set to reprise her titular role.


Cruella (2021) Trailer

Cruella (2021) Reviews

Did you ever wonder how Cruella De Vil, the vampy fiend from Disney’s “101 Dalmatians,” became evil enough to want to kill puppies and skin them for fur coats? You didn’t? Ah, well—there’s a movie about it, “Cruella.” It stars two Oscar-winning actresses, runs two hours and 14 minutes, and reportedly cost $200 million, a good chunk of it spent on an expansive soundtrack of familiar sixties and seventies pop songs.It never answers the burning question posed by its own existence, though: what new information could possibly make us sympathize with the original movie’s nuclear family-loathing, wannabe-dog-killing monster? The further away from “Cruella” that you get, the more its connection to “101 Dalmatians” seems a cynical attempt to leash an existing Disney intellectual property to a story that has no organic connection with it.
Directed by Craig Gillespie—who does a discount Scorsese, keeping the camera flying and the phonograph needles dropping, much as he did in “I, Tonya”—”Cruella” awkwardly combines a couple of popular modes. One is the origin story of a long-lived, brand-name character that didn’t need an origin story: think “Solo: A Star Wars Story,” “Pan,” and the third Indiana Jones (the opening sequence of “The Last Crusade” showed Indy acquiring his whip, his chin scar, his hat, and his fear of snakes in the space of 10 minutes).The other mode is the “give the Devil his due” story, represented on TV by dramas such as “Bates Motel” and “Ratched” and in cinema, with greater or lesser degrees of artistry, by Rob Zombie’s “Halloween” remakes, which explored the abusive childhood of serial killer Michael Myers; by the billion-dollar grossing, Oscar-winning “Joker”; by Tim Burton’s “Charlie and the Chocolate Factory,” which gave Roald Dahl’s inscrutable, faintly sinister clown Willy Wonka a tragic childhood;by the “Maleficent” films (the first of which had soul, at least); and by Broadway’s Wicked, which presented the Wicked Witch as a victim of bigotry who embraced her own stereotype and used it as a weapon against tormenters.The “Cruella” screenplay is in that vein, or sometimes it tries to be. But it’s a mess, and it often seems to pause to remind itself that it’s supposed to have something to do with “101 Dalmatians.” The script is credited to Dana Fox and Tony McNamara, from a story by Aline Brosh McKenna, Kelly Marcel, and Steve Zissis.

But although it was theoretically inspired by a Disney cartoon feature adapted from Dodie Smith’s book, you could change the heroine’s name and take out a handful of iconic production design elements (such as Cruella’s yin-yang hair and Bentley roadster, and the spotted dogs) and have a serviceable feature in the vein of “Matilda,” “Madeline,” or “Lemony Snicket’s A Series of Unfortunate Events”—or, for that matter, countless Charles Dickens film adaptations, wherein a plucky child or teenager navigates a world of useless or treacherous adults, becoming embroiled in plots to steal this object or expose that bad person.

Far from wanting to kill and skin dogs, a pre-Cruella girl named Estella (Emma Stone) owns one and dotes on it. As the story unfolds, we never see her being cruel to an animal or even saying an unkind word about them. She blames Dalmatians for the accidental death of her mother, a poor laundrywoman played by Emily Beecham; but that’s more of a reflexive loathing, like hating the ocean if you’d lost a loved one to drowning. It’s not as if she’s sworn vengeance against canines generally.Our heroine (or antiheroine) is a sassy, plucky orphan who overcomes a life of deprivation on London’s swingin’ streets, joining up with a couple of buddies, Jasper (Joel Fry) and Horace (Paul Walter Hauser) and running grifts and scams. A brilliant draftswoman with an eye for style, Estella gets a job at a big department store. In a fit of pique, she reconfigures a shop window display because it showcases a gown she thinks is ugly (altering it in the process), and is summarily hired by the store’s biggest vendor, fashion designer Baroness von Hellman (Emma Thompson).The Baroness is a staff-abusing control freak who nevertheless becomes the closest thing to a mentor and mother that Estella has had since her own mum’s death.Through a combination of incidents too tangled to recount here, the story morphs into an “All About Eve” riff about intergenerational rivalry between women in a creative workplace. Estella becomes increasingly resentful of the Baroness abusing her and stealing her glory; in time, she gradually learns what a vile person the Baroness is, and vows to humiliate and destroy her and usurp her spot as the top fashionista in London.

All in all, not a bad setup for a knockabout comedy-drama set in what feels like an alternate universe—one that’s more clever and colorful than the one we’re stuck with, although Jasper and Fry never quite feel like more than obligatory sidekicks, and Cruella is given a childhood best friend, Maya (Kirby Howell-Baptiste), a photojournalist and gossip columnist who is reduced to the status of a plot device in the film’s second half.

But Estella needs to become Cruella De Vil, just as Arthur Fleck had to become the Joker and Anakin Skywalker had to become Darth Vader, otherwise the production can’t end up in theaters and on Disney+. And so “Cruella,” much like the half-charming, half-pointless “Solo,” has to shoehorn bits of lore and backstory and fanwankery into the narrative, none more risible than the moment where the heroine decides that Cruella needs an equally colorful last name and takes it from a certain model of automobile.

Did we need that? Isn’t the wordplay on “Devil” and “da vil(lain)” sufficient? Apparently not, and of course, young children are going to eat that sort of thing right up, even though it’s (amazingly) even worse than the scene in “Solo” where the intergalactic customs official assigns the hero his last name because he’s traveling alone.

It’s a bummer, really, because—like many a “How did this person become the character we already know?” films—”Cruella” is filled with situations, set pieces, and moments of characterization and performance that suggest it had everything required to stand on its own two high-heeled feet, minus the guardrails of intellectual property owned by the largest entertainment conglomerate the world has ever seen.Estella’s rightful desire to punish a bad person, for example, is intertwined with her drive to succeed in business, a touch of psychological complexity that the script isn’t interested in unpacking because it already has its hands full making Estella a lively character in her own right and simultaneously setting her up to become Cruella de Vil—a transformation that makes increasingly less sense the more you learn about the character.A pity, that. People in real life often do good things for bad reasons and vice versa, or use their trauma as an excuse to lower themselves to the level of the person they’ve decided is (to quote Bond’s nemesis Blofeld) the author of all their pain. Because the film can’t, or won’t, deal with the material that’s  right in front of it, it comes across seeming as if it wants credit for a sophistication it does not possess.There’s no denying that “Cruella” is stylish and kinetic, with a nasty edge that’s unusual for a recent Disney live-action feature. But it’s also exhausting, disorganized, and frustratingly inert, considering how hard it works to assure you that it’s thrilling and cheeky. You get forty minutes into it and realize the main story hasn’t started yet.

Were it not for the acrobatic camerawork, the game lead performances by two Emmas, and the parade of eye-popping costumes by Jenny Beavan—eighty knockouts in 134 minutes, not counting the period-inspired background garb on the extras—it would be a nonsensical heap of broken images, as aesthetically bankrupt as “Star Wars: The Rise of Skywalker” and the first “Suicide Squad.”

More vexing is the film’s reluctance to own the fact that—as one of many obvious song cues assure us—it has Sympathy for the Devil. She’s not really the devil—not even remotely, as the script keeps telling us—but she is an awful person in many ways, and we are expected to adore her because the Baroness is so much worse.

The movie hits a giddy peak in its final act when it becomes a contest of wills. It’s here that the leads cut loose. Thompson in particular achieves cartoonish grandiosity, a supervillain armored in haute couture. Every head tilt, sneer, and side-eye is a non-physical assault on the Baroness’ enemies and underlings, some of who don’t realize they’ve been symbolically executed until their heads hit the basket. The effect is similar to what Cate Blanchett achieved in “Thor: Ragnarok,” another film where the costumes were practically giving performances of their own, and the smartest actors in the cast knew how to merge with them.

But “Cruella” never embraces darkness in the way it keeps threatening to. There’s nothing in this film remotely as powerful as the moment in the first “Maleficent” when the heroine awakens on a hilltop after spending the night with a duplicitous man and finds that her wings have been chopped off. It’s an atrocity that reads as a sexual and psychological assault even though the movie never frames it that way, and it powers us through the rest of the story, freeing us to root for a traumatized, outcast monster.”Maleficent” eventually compromises, too, pulling back from its heroine’s grimmest tendencies. But it’s still as close as Disney has gotten to letting Satan footnote the Bible, and it looks better every time the studio releases something like “Cruella,” a movie that flinches from its own premise, even as it looks great doing it.“Cruella” will release simultaneously in theaters and on Disney+ with Premier Access for a onetime additional fee on Friday, May 28.
  • Matt Zoller Seitz – Roger Ebert
  • Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.


Cruella (2021) Credits

Cruella movie poster

Cruella (2021)

Rated PG-13 for some violence and thematic elements.

134 minutes


Emma Stone as Cruella de Vil / Estella

Emma Thompson as Baroness von Hellman

Mark Strong as Boris

Joel Fry as Jasper

Paul Walter Hauser as Horace

Emily Beecham as Catherine

Kirby Howell-Baptiste as Anita

Jamie Demetriou as Gerald

John McCrea as Artie

Abraham Popoola as George


  • Craig Gillespie

Writer (based upon the novel “One Hundred and One Dalmatians” by)

  • Dodie Smith

Writer (story by)

  • Aline Brosh McKenna
  • Kelly Marcel
  • Steve Zissis


  • Dana Fox
  • Tony McNamara


  • Nicolas Karakatsanis


  • Tatiana S. Riegel


  • Nicholas Britell


Cruella (2021) Plot

In 1964 England, Estella is a creative child with a talent for fashion, but is ostracized for her unusual hair and develops a nefarious streak. Her mother, Catherine, decides to move them to London, stopping at a party at Hellman Hall to ask the host for money. Sneaking inside, Estella loses her mother’s necklace while being chased by the host’s ferocious Dalmatians, which push Catherine off a cliffside balcony to her death. Orphaned, Estella runs away to London and befriends street urchins Jasper and Horace.

Ten years later in 1974, Estella practices thievery and grifts with Jasper and Horace, honing her fashion skills by designing their disguises, alongside their dogs, Buddy and Wink. For her birthday in 1977, Jasper and Horace get her a job at the Liberty department store, but Estella is made a janitor and denied the chance to use her talents.

She drunkenly redecorates a window display and impresses the Baroness von Hellman—a renowned but authoritarian haute couture designer—who offers her a coveted job at her fashion house. Estella gains the Baroness’s confidence but notices her wearing Catherine’s necklace, which the Baroness claims is a family heirloom that an employee once stole. Estella asks Jasper and Horace to help retrieve the necklace during the Baroness’s Black and White Ball.

To conceal her identity, Estella creates an alter-ego, “Cruella”, and wears one of the Baroness’s old designs from a vintage clothing store owned by the flamboyant Artie. At the ball, Cruella steals the spotlight as Jasper and Horace break into the Baroness’s vault, but she is already wearing the necklace. Jasper releases rats into the party, allowing Estella to swipe the necklace.

The Baroness summons her Dalmatians with a dog whistle, and Estella realizes the Baroness caused Catherine’s death. In the ensuing chaos, one of the Dalmatians swallows the necklace. Seeking revenge, Estella orders Jasper and Horace to kidnap the Dalmatians, and recovers the necklace. Cruella upstages the Baroness at various events in extravagant fashions, gaining notoriety via society columnist Anita Darling, Estella’s childhood friend. Furious, the Baroness fires her lawyer, Roger Dearly, while Cruella’s increasingly haughty behavior discomforts Jasper.

Estella designs and sews an elaborately beaded dress as the signature piece for the Baroness’s spring collection and stages a robbery in the fashion house, leading the Baroness to lock up all the dresses. The night of the spring show, the Baroness opens the vault to find that the entire collection has been destroyed by thousands of moths, having emerged from the beads on the dress which were actually moth cocoons. Seeing what she has done, the Baroness realizes Estella and Cruella are the same person.

Having wrecked the Baroness’ show, Cruella stages her own fashion show outside in Regent’s Park, wearing a faux Dalmatian-fur coat. Returning home, Estella is confronted by the Baroness and her men, who have captured Jasper and Horace. Setting fire to the building, the Baroness leaves Estella to die, and has Jasper and Horace sent to prison for her murder. Estella is saved by John, the Baroness’s valet, who reveals that the necklace unlocks a box containing Estella’s birth records: the Baroness is her biological mother.

She had ordered John to murder the infant Estella to focus on her career and keep her late husband’s inheritance. Instead, John gave the baby to Catherine, one of the Baroness’s maids, who raised Estella in secret.

Cruella breaks Jasper and Horace out of prison and reveals the truth, recruiting them, Artie, and John for her final scheme. The quintet sneaks into the Baroness’s charity gala, having arranged for all the guests to dress as Cruella. Estella confronts her mother on the balcony, and the Baroness feigns an embrace before pushing her over the cliff, unwittingly witnessed by her guests.

Estella secretly survives with a hidden parachute and, now legally dead, adopts her Cruella persona for good. The Baroness is arrested, swearing revenge on Cruella De Vil. Before her “death”, Estella willed her inheritance to Cruella, including the manor which she renames Hell Hall, moving in with her accomplices. In a mid-credits scene, Anita and Roger each receive a Dalmatian puppy from Cruella.


Cruella (2021) Box office

As of March 6, 2022, Cruella has grossed $86.1 million in the United States and Canada, and $147.4 million in other territories, for a worldwide total of $233.5 million.

In the United States and Canada, Cruella was released alongside A Quiet Place Part II, and was projected to gross $17–23 million from 3,892 theaters in its opening weekend, and around $30 million over the four-day Memorial Day frame.[62] The film made $7.7 million in its first day, including $1.4 million from Thursday night previews. It went on to debut to $21.5 million and a total of $26.5 million over the four days, finishing second at the box office. 61% of the tracked audience was female, with 43% being under 25 years old.

In its sophomore weekend the film grossed $11 million, finishing third behind The Conjuring: The Devil Made Me Do It and A Quiet Place Part II.[64][65] The film then fell to 5th place in its third weekend, grossing $6.7 million.[66] Deadline Hollywood wrote that despite having a running total of $71 million through five weeks, sources believed that the “Disney+ Premier PVOD tier is impacting the pic’s overall revenue, not just at the box office, but in the movie’s downstream ancillary revenues.”[67]

The film made $26.5 million in its domestic opening and earned $16.1 million in 29 other countries, for a global debut of $43 million.[68] In China, Cruella debuted with a less-than-expected $1.7 million opening, finishing behind holdover F9 which earned $8.9 million.


Cruella (2021) Critical reception

On the review aggregator Rotten Tomatoes, 74% of 400 critics have given the film a positive review, with an average rating of 6.8/10. The website’s critics consensus reads: “Cruella can’t quite answer the question of why its title character needed an origin story, but this dazzling visual feast is awfully fun to watch whenever its leading ladies lock horns.”[72] On Metacritic, the film has a weighted average score of 59 out of 100 based on 56 critic reviews, indicating “mixed or average reviews”.

Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale, while PostTrak reported 84% of audience members gave it a positive score, with 63% saying they would definitely recommend it.[63]

Writing for Variety, Peter Debruge said: “The director, who brought a wicked edge to pop-culture redux I, Tonya a few years back, has rescued Cruella from the predictability of the earlier 101 Dalmatians remakes and created a stylish new franchise of its own in which a one-time villain has been reborn as the unlikeliest of role models.”[4] A. O. Scott of The New York Times called the film “refreshing” within the Disney live-action efforts, while complimenting the film’s visual style and storytelling in a Dickensian tale, as well as favorably referring the film as a PG-13 revenge take to Joker.

Peter Travers, reviewing the film for ABC News, wrote: “If looks really were everything, Cruella would be flying high on the dazzling costumes that two-time Oscar winner Jenny Beavan has designed for and with two Oscar-winning Emmas–Stone and Thompson–are dressed to wow and deliver much to enjoy in this beautifully crafted fluffball and hits its stride when the two Emmas go on the diva warpath—all in the name of female empowerment.”

Justin Chang of Los Angeles Times remarked the movie as “dazzling fun” and lauded the performances of Stone and Thompson, of which he described the rivalry of the performances as “hard to resist on-screen”, and hailed Beavan’s costume design on the film as one of her best works since Mad Max: Fury Road, while drawing parallels of the film’s moral ambiguities and Stone’s portrayal of the titular character to her previous performance as Abigail Hill in The Favourite.[77]

Alonso Duralde of TheWrap wrote: “Placing these characters in the ’60s and ’70s allows director Craig Gillespie and screenwriters Dana Fox and Tony McNamara to place the characters into an exciting moment of fashion history … Costumer Jenny Beavan, art director Martin Foley, and production designer Fiona Crombie, and their respective departments, all seem to be enjoying and making the most of the film’s period demands.”

In addition, Duralde also lauded the performances of Stone, Hauser, and Thompson, drawing comparisons of the characterizations of the latter’s portrayal of the Baroness to Miranda Priestly in The Devil Wears Prada and Reynolds Woodcock in Phantom Thread.

Peter Bradshaw of The Guardian awarded the film four out of five stars, describing it as “entertaining” and an “outrageous punk”, as well as praising the performances and dynamic between Stone and Thompson. Furthermore, Bradshaw also complimented the tone of the film’s soundtrack to Michael Jackson and similarly praised the film’s mid-70s costume and production designs of Beavan and Crombie as “top-notch”.

Chicago Sun-Timess Richard Roeper rated the film with 3/4 stars, and highlighted Gillespie’s direction for being “clever” and “devilishly offbeat” while praising the performances of Stone and Thompson as “appropriately over-the-top and wildly entertaining”, drawing its comparisons to The Devil Wears Prada and also commended the costumes, makeup, and the production values of which he referred to as “spectacular”, “dazzling” and a “visual feast”, comparing its style to Phantom Thread and noting the similarities of the vibe and tone of the film’s soundtrack to GoodfellasKingsman: The Secret Service, and Baby Driver.[80]

The Daily Telegraph‘s Robbie Collin scored the film four out of five, similarly praised the film, which he described as a “rollicking tale” and an “acid-tipped wackiness”, and lauded the film for its different approach in the Disney live-action adaptations as well as the previous 101 Dalmatians versions and its interpretation of the central character in a new context.

He also similarly praised the performances (particularly Stone and Thompson) as well as the supporting cast, which he referred to as “zany”, while specifically remarking of Stone’s performance of Cruella De Vil as “sharp-angled, hyper-expressive” and that Thompson’s portrayal of the Baroness “stalks the fine line between threatening and ludicrous with stiletto-heel precision”. In addition, Collin also praised the film’s visual style and Beavan’s costume design as “eyeball-popping” and “a garden-hose-blast to the eyeballs of pure sartorial flair and exuberance”.

K. Austin Collins of Rolling Stone rated the film with three out of five stars, praising Stone’s success in embodying the titular character, and describing her performance as “vampy, stylish, and cruel” while comparing the film’s style of storytelling to I, Tonya, of which he noted a similar internalized victim-like story perspective of Tonya Harding to Cruella de Vil and even pointed out on the similar “plausibly two-sided” depiction of Stone’s Cruella to Andrea “Andy” Sachs from The Devil Wears Prada, but with a twisted spin.

He also commended the supporting performances, particularly Thompson and Hauser, referring the film as “a battle of wits and knits”, “entertaining”, and “fun”.[82] Jamie Jirak from ComicBook.com called the film as “raising the bar when it comes to their [Disney’s] live-action catalog”, praising the art department, the performances and nostalgic elements.[83] Debopriyaa Dutta from Screen Rant opined that the film told a “masterfully nuanced origin” and praised the performances of Stone and Hauser.

The Hollywood Outsider’s Morgan Lanier described the film as “taking place in the 70’s with a lot of camp to lighten the mood”, praising Stone for giving Cruella “a twist of vulnerability” and giving the longstanding Disney villain a “fun glimmer”. Lanier also praised Thompson’s performance saying “Thompson gives the baroness the ability to chill a room”. Lanier concluded that the movie was “joyous, campy, great costumes, […] amplified by a killer soundtrack”.

Kate Erbland of IndieWire gave the film a “B−”, and labelling the film as “exciting” and “fun” and a “colorful, loud, and unexpected look” on the origin story of Cruella De Vil while Erbland singled out the praises on the casting and the performances of Stone, Thompson, Fry, Hauser, and the costumes, but found fault at the film’s runtime of which she referred it as “bloated”.[86]

The Washington Posts Ann Hornaday described the film as “tedious, transgressive, chaotic and inert”. While praising the performances of Stone, Thompson, Fry, and Hauser, as well as the costumes; she criticized the film, writing, and the runtime of which she found it as “overstuffed”, “overlong”, and “miserably misanthropic”.[87] Mick LaSalle of the San Francisco Chronicle thought the film was misbegotten and felt that it favors more on style over substance.

Though he praised Thompson’s performance, the costume design and the soundtrack, he chided the film’s writing as “lazy” and “careless”.[88] Matt Zoller Seitz of RogerEbert.com gave the film 2/4 stars, and said: “There’s no denying that Cruella is stylish and kinetic, with a nasty edge that’s unusual for a recent Disney live-action feature. But it’s also exhausting, disorganized, and frustratingly inert, considering how hard it works to assure you that it’s thrilling and cheeky.”

Jacobins Eileen Jones labelled the film as a “dopey, uninspired, and tedious mess”, specifically criticizing the script as “basically rotten” and describing the transformation of Cruella’s character as “the complete mangling of one of the greatest Disney villains of all time.” Jones took issue with the absence of the “implied critique […] of Cruella’s wealthy entitlement and mad consumer obsession” as shown in 101 Dalmatians, and the attempt to make a “legendary dalmatian-skinning villain” into a “scrappy, likable hero.”

Jones complimented the film’s costume design, specifically emphasizing the “trash gown” shown at the Baroness fashion show, and describing it as “sufficiently cool that costume designer Jenny Beavan may win another Oscar.”


Cruella (2021) Accolades

Award Date of ceremony Category Recipients Result
Academy Awards March 27, 2022 Best Costume Design Jenny Beavan Won
Best Makeup and Hairstyling Nadia Stacey, Naomi Donne, and Julia Vernon Nominated
Alliance of Women Film Journalists January 31, 2022 Time Waster Remake or Sequel Award Cruella Nominated
ACE Eddie Awards March 5, 2022 Best Edited Feature Film – Comedy Tatiana S. Riegel Nominated
American Cinematheque Awards – Tribute To The Crafts January 26, 2022 Feature Film – Costume Designer Jenny Beavan Won
Art Directors Guild Awards March 5, 2022 Excellence in Production Design for a Fantasy Film Fiona Crombie Nominated
British Academy Film Awards March 13, 2022 Best Costume Design Jenny Beavan Won
Best Makeup and Hair Nadia Stacey and Naomi Donne Nominated
Casting Society of America March 23, 2022 Feature Big Budget – Comedy Mary Vernieu, Lucy Bevan, Bret Howe, Emily Brockmann, and Olivia Grant Nominated
Chicago Film Critics Association December 15, 2021 Best Costume Design Jenny Beavan Nominated
Costume Designers Guild Awards March 9, 2022 Excellence in Period Film Won
Critics’ Choice Movie Awards March 13, 2022 Best Costume Design Won
Best Makeup Cruella Nominated
Dorian Awards March 17, 2022 Campiest Flick Nominated
Golden Globe Awards January 9, 2022 Best Actress in a Motion Picture – Comedy or Musical Emma Stone Nominated
Gold Derby Film Awards February 27, 2022 Best Costume Design Jenny Beavan Won
Best Makeup and Hair Nadia Stacey, Naomi Donne, and Julia Vernon Nominated
Grammy Awards April 3, 2022 Best Compilation Soundtrack for Visual Media Cruella – Various Artists Nominated
Hollywood Critics Association January 8, 2022 Best Costume Design Jenny Beavan Won
Best Hair & Makeup Carolyn Cousins and Nadia Stacey Nominated
Las Vegas Film Critics Society Awards December 1, 2021 Best Costume Design Jenny Beavan Won
London Film Critics’ Circle February 6, 2022 Technical Achievement of the Year Nominated
Make-Up Artists and Hair Stylists Guild Awards February 9, 2022 Best Period and/or Character Make-Up in a Feature-Length Motion Picture Nadia Stacey, Naomi Donne, and Guy Common Won
Best Period and/or Character Hair Styling in a Feature-Length Motion Picture Nadia Stacey, Naomi Donne, and Julia Vernon Nominated
Nickelodeon Kids’ Choice Awards April 9, 2022 Favorite Movie Actress Emma Stone Nominated
People’s Choice Awards December 7, 2021 The Drama Movie of 2021 Cruella Won
The Drama Movie Star of 2021 Emma Stone Nominated
Online Film Critics Society Awards January 24, 2022 Best Costume Design Cruella Nominated
San Diego Film Critics Society January 10, 2022 Best Costume Design Jenny Beavan Won
Best Use of Music Cruella Nominated
Saturn Awards October 25, 2022 Best Fantasy Film Cruella Pending
Best Actress in a Film Emma Stone Pending
Best Film Music Nicholas Britell Pending
Best Film Production Design Sue Chan Pending
Best Film Costume Design Jenny Beavan Pending
Seattle Film Critics Society January 17, 2022 Best Costume Design Jenny Beavan Nominated
Set Decorators Society of America Awards February 22, 2022 Best Achievement in Décor/Design of a Comedy or Musical Feature Film Fiona Crombie and Alice Felton Nominated
St. Louis Film Critics Association December 19, 2021 Best Costume Design Jenny Beavan Won
Best Soundtrack Cruella Won

Cruella (2021) pictures


Cruella (2021) Movie Info

Academy Award (R) winner Emma Stone (“La La Land”) stars in Disney’s “Cruella,” an all-new live-action feature film about the rebellious early days of one of cinemas most notorious – and notoriously fashionable – villains, the legendary Cruella de Vil. “Cruella,” which is set in 1970s London amidst the punk rock revolution, follows a young grifter named Estella, a clever and creative girl determined to make a name for herself with her designs.
She befriends a pair of young thieves who appreciate her appetite for mischief, and together they are able to build a life for themselves on the London streets. One day, Estella’s flair for fashion catches the eye of the Baroness von Hellman, a fashion legend who is devastatingly chic and terrifyingly haute, played by two-time Oscar (R) winner Emma Thompson (“Howards End,” “Sense & Sensibility”). But their relationship sets in motion a course of events and revelations that will cause Estella to embrace her wicked side and become the raucous, fashionable and revenge-bent Cruella.

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