Cruella (2021)
134 min|Adventure, Comedy, Crime|28 May 2021
7.3Rating: 7.3 / 10 from 286,888 usersMetascore: 59
During the 1970s London punk rock revolution, young grifter Estella transforms herself into the raucous, revenge-bent Cruella de Vil.

Rupanya tokoh antagonis kini tengah diminati para pembuat film untuk menjadi sorotan utama. Cruella turut meramaikan tren ini setelah Joker dan Harley Quinn. Cruella diadaptasi dari sosok Cruella de Vil dalam kisah klasik 101 Dalmations yang sebelumnya juga pernah diproduksi live-action-nya oleh Disney pada tahun 1996. Berbekal bujet USD 100 juta, Cruella diarahkan oleh Craig Gillespie yang juga menyutradarai film biografi unik, I Tonya. Cruella dibintangi sederetan bintang tenar, antara lain Emma Stone, Emma Thompson, Mark Strong, Joel Fry, dan Paul Walter Hauser. Apakah Cruella mampu memperkuat tren film bertema antagonis?

Inti kisahnya adalah bagaimana Estella berubah menjadi sosok bengis Cruella yang kita kenal pada kisah 101 Dalmations. Kisahnya adalah sebuah proses yang amat panjang sejak Estella masih kanak-kanak hingga ia menjadi wanita dewasa. Satu problem besar plotnya adalah tempo kisahnya yang bergerak sangat cepat. Momen demi momen melaju deras dan cenderung melelahkan karena informasi cerita masuk bertubi-tubi nyaris tanpa jeda. Terlebih dengan setting yang mengagumkan dan sedemikian detil, mampu memanjakan mata layaknya film-film Tim Burton, segalanya lewat begitu saja. Kejutan akhir cerita juga rasanya sudah bukan kejutan lagi bagi para penikmat film sejati.

Di luar kisahnya yang melelahkan, pendekatan estetik filmnya adalah satu aspek yang harus diapresiasi tinggi. Baik setting eksterior maupun interior disajikan amat meyakinkan dan begitu detil. Kostum yang menjadi titik lebih kisah filmnya, juga dominan sepanjang film. Agak mengherankan, mengapa bukan Burton yang menggarap film ini? Teknik montage juga dominan sepanjang film, disajikan unik dengan dikombinasi headline surat kabar. Satu lagi adalah penggunaan lantunan lagu nyaris tanpa jeda yang pas mengiringi tiap adegan sepanjang filmnya. Lalu dua kasting utamanya, Emma Stone dan Emma Thomson tak perlu dikomentari lagi karena keduanya tampil amat kuat dan memukau. Satu lagi, sebagai penikmat film, saya menikmati sisipan tribute klasik dalam beberapa adegannya, sebut saja Full Metal Jacket dan Terminator.

Dengan mise_en_scene yang mengagumkan, Cruella adalah sebuah pencapaian estetik dari segala lini yang mengagumkan di luar tempo kisahnya yang melaju cepat. Masih sulit ditebak, apakah tren tema antagonis bakal menjadi hit. Pandemi tentu merusak banyak rencana para pembuat film ke depan. Joker sukses komersial sebelum masa pandemi, sementara Harley Quinn sudah terkena dampak awal pandemi. Untuk bujetnya, Cruella rasanya juga sulit untuk bisa sukses komersial di teater. Tren ini bisa saja dianggap sebagai satu terobosan baru dalam industri, atau bisa jadi sudah kekurangan ide?

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Artikel BerikutnyaShadow and Bone
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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