Jodie Comer, the star of Killing Eve, and Harry Melling, best known for his work on Pillion, lead Theo Rhys’ feature directorial debut Stuffed, which premiered at the 2026 Toronto International Film Festival. The film’s logline describes a lonely taxidermist who wants a volunteer for her greatest piece yet, and she finds a man desperate to be remembered. Reviews of the film have been mixed.
The Short That Started It All
Rhys first showed his hand in 2021 with a 19-minute short film also titled Stuffed, which blended romance, horror and musical comedy. The reviewer, who sat on the jury for the Midnight shorts section at SXSW that year, was “absolutely enchanted” by it. The jury awarded it a special honor, and the reviewer “squealed with excitement” to see Rhys build it out into a feature.
People walked out at several points during the press and marketing screening, a familiar sight at festivals where attendees often have many reasons to give a film a try. A pronounced flock fled after a close-up of a dead poodle being flayed, suggesting the musical elements were too much for some.
Comer and Melling as Ghastly Losers
Araminta is a taxidermist whose house is a stuffed-animal sanctuary, filled with a full-sized doe, a stuffed pig, a cat, ducklings, and more. Her singing voice recalls Angela Lansbury’s performance of the same role in Tim Burton’s Sweeney Todd, yet she is neither a killer nor broadly comic. Rhys grants Comer room instead to shape her as a fervent, grubby oddity, reviled by the townspeople who circulate tales about her and her meat waste.
Bernie works at a warehouse where a vast rusted vat bears the inscription “Mayonnaise.”. No one pays attention to him, no matter how much he tries to stand out. His only companion is his mother, who is wasting away in a retirement home struck down by dementia. Araminta offers him a way to finally be remembered.
Love and Taxidermy
Araminta brings Bernie into her life so that he will die and become her taxidermy masterpiece. Yet as their feelings grow deeper, Bernie changes his mind and wishes to stay alive with her instead of dying for her. He still wants to please her by giving her what she desires: his body after death. The film questions what form love can take between these two people.
The songs in Rhys and co-writer Joss Holden-Rhea’s work are vehicles for giving big voices to introverts and misfits who keep their inner lives hidden from others. Bernie and Araminta each get their own songs, and through them they explore yearning, vulnerability and intimacy. As they progress from singing solos to singing together, their bond blossoms. The reviewer calls it “a marvel.”.
Where It Underwhelms
In Stuffed, Melling and Comer deliver terrific performances as ghastly yet lovable losers, investing these roles with sincerity and texture. Their early songs feel held close to their chests, like a breath that could crack open their ribs. Comer’s posture changes from a protective hunch into an open-chested stride as she blossoms in love.
The singing is big, distinctive and beautiful, yet the production value falls short. Choreography and cinematography fail to keep pace with it. The production design and costumes build a compelling realm for this romance, capturing both the rot and wonder of death and life. Close-ups are effusive, but wider shots that could have explored the physicality of these numbers are missing.
| Element | Strength | Weakness |
|---|---|---|
| Lead performances | Terrific chemistry, big voices | None noted |
| Musical form | Marvelous blend of romance, horror, comedy | Too much for some audiences |
| Production design | Rot and wonder | Low budget shows in lack of dancing |
| Narrative | Oddball romance, no judgment | Grim, funny, uniquely romantic |
A Divisive Triumph
The reviewer was elated to see Rhys’ vision come to life, even though the results were at times more scrappy than sensational. The film is a marvel, and its collision of theatrical musical boldness with winking absurdity makes Stuffed a unique experience.
At the screening, the reviewer witnessed a full range of responses to the film. A fellow critic sat howling with laughter at its dark humor, while a stranger sat nearby, his face buried in his hands, letting out low groans at intervals. This contrast defines the film’s very nature.
The verdict from Mashable’s review is plain: you are not ready for Jodie Comer and Harry Melling in Stuffed. The film succeeds at odd affection, even though its spectacle does not measure up to the rest.
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