Nicola Peltz’s movie career: when daddy’s billions replace talent, training and taste

When daddy’s wallet does the movie casting

There are nepo babies and then there’s Nicola Peltz.

Her film career appears to operate on a refreshingly honest principle. Even if audiences won’t buy tickets, her father will buy the movie.

All the movies are vanity projects for a vain nepo baby and an indulgent father.

Every recent project Nicola has “starred” in traces back to Bunny Films. It’s a private production company allegedly financed through the bottomless wallet of her billionaire father Nelson Peltz. It’s named after her grandmother Gina—known affectionately as Naunni or “Bunny”—who died in 2024 aged 95. It’s a sentimental tribute, sure, but sentiment doesn’t magically turn mediocre performances into compelling cinema.

Lola: another vanity project that collapsed on impact

Let’s talk about Lola, released in February 2024 with a whisper, a prayer and apparently zero audience interest.

Lola is a 2024 American drama film written and directed by Nicola Peltz. She stars alongside Raven Goodwin, Richie Merritt, Luke David Blumm, Trevor Long, and Virginia Madsen. The film was universally panned by critics. The Guardian describe Lola as “poverty porn” and gave it 1 star.

“Lola, whose protagonist careens from one traumatic experience to the next, doesn’t explore hardship – it exploits it.”

Nicola not only starred in the film, she also directed it. And this is despite having no directing training, no apprenticeship and no visible grasp of pacing, tone or character development. The result? A reported budget of $1 million and a box-office return of $648 total. Not opening weekend. Not domestic gross. Total. That’s not a flop; that’s a financial flatline.

And yet, the Beckhams dutifully turned up to support her at the premiere, smiling through gritted teeth and good manners.

The irony is painful. Even with one of the most famous families in the world lending social capital, the film still couldn’t attract an audience. You can buy cameras, crews and screenings—but you can’t buy people caring enough to go see a movie.

Not only did the Beckhams attend the movie premiere for Lola, but Elon Musk also attended. He’s a close from of Nicola’s dad and Nicola appears to be very friendly with him. As can be seen in this publicity photo for the very poorly received movie.

Maybe Nicola just wants to be in the public eye? Maybe that’s why she married a guy whose name is recognisable and world renown?

Pretty Ugly: unreleased, untested and unsurprisingly opaque

Next comes Pretty Ugly, another Bunny Films production with Nicola once again casting herself front and centre.

The film hasn’t been released. This raises a fair question: is it being “strategically delayed,” or quietly hidden until everyone forgets Lola ever happened? Nicola again holds creative control, because why learn under someone else when daddy can just hand you the keys?

Once again, Nicola directs and stars, despite having no meaningful directing experience. The pattern is familiar: control the company, control the casting, skip the apprenticeship.

There’s a recurring theme here: no auditions, no competition, no external accountability. In a real industry, failure leads to recalibration. In the Peltz cinematic universe, failure just leads to the next cheque being written.

Prima: ballet drama, prestige casting and a very thin veil

Now we arrive at Prima, Nicola’s latest attempt to launder credibility through “serious” subject matter and respected co-stars.

Set in the punishing world of elite ballet, the film reportedly explores obsession, artistic sacrifice, generational pressure and the cost of ambition. Nicola, of course, positions herself as the emotional core of the story. She stars as a struggling young woman chasing greatness, despite little evidence she understands what earning it actually looks like.

To prop things up, Bunny Films has roped in Faye Dunaway, cast as the grandmother figure, alongside Mia Sorvino. It’s prestige-by-association at its most transparent: surround the nepo lead with genuine talent and hope some of it rubs off.

Directed by photographers… because vibes

The directing credits for Prima go to the Morelli Brothers. Their most notable connection to filmmaking appears to be their proximity to Nicola herself.

They photographed Nicola and Brooklyn Beckham for Glamour in June 2025—and voilà, they’re now directing a feature film. No narrative film background, no proven storytelling chops, just vibes, access and friendship. It’s less “auteur cinema” and more “rich-kid group project.”

Bunny Films and the Delaware disappearing act

Bunny Films is based in Delaware, a famously opaque, business-friendly state where ownership structures are conveniently shielded from public scrutiny.

Whether the company is wholly owned by Nelson, Nicola or a neat family web doesn’t really matter. The outcome is the same. Every project is greenlit, financed and controlled within the Peltz bubble.

There’s no risk, no rejection, no external voice saying, “Maybe you’re not ready” to Nicola. Daddy won’t say no to his baby girl. Even if she’s not a good actress. Even if she’s not even a passable director. He’s just giving her money to spoil and appease her wants. Because what a spoilt nepo baby wants, a spoilt nepo baby gets if they have a billionaire dad.

Family hierarchy, wedding symbolism and set rumours

Nicola’s devotion to her grandmother is well documented.

Gina was maid of honour at Nicola’s wedding and sat at the main table. Meanwhile, Brooklyn’s parents—the actual global celebrities—were reportedly seated elsewhere. That hierarchy matters.

So do the rumours now swirling around Prima, particularly about Dunaway’s long-standing reputation as a difficult diva on set. If tensions are already brewing, it only adds another layer of instability to a project already burdened by scepticism.

Buying a career isn’t building one

Here’s the brutal reality: Nicola isn’t being “supported,” she’s being insulated. She doesn’t have to train properly. She doesn’t have to earn roles. She doesn’t even have to improve. Daddy’s money smooths every failure and erases every consequence. But the internet doesn’t forget. If Prima lands badly, clips of wooden performances won’t be politely ignored. They’ll be weaponised on TikTok, mocked on X and replayed endlessly with brutal comments on all social media.

This isn’t empowerment. It’s indulgence. And instead of creating an actor, it’s creating a cautionary tale. Proof that you can buy access, control and credits—but you can’t buy respect, credibility, or talent.