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Stuffed Review: Jodie Comer & Harry Melling Excel in Whimsical Taxidermy Musical | TIFF 2026 – keithlovesmovies.com
Oct
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With stars like Jodie Comer and Harry Melling attached, the outlandish premise of a taxidermy musical made Stuffed an instant talking point at TIFF. Set in a Burtonesque England, Melling’s Bernie works day in and day out at a sandwich factory, whilst Comer’s Araminta is more of a recluse, instead spending her days taxidermying animals to keep her company. Both of them are seen as outcasts, and when their paths intersect, you see two people secretly longing for companionship and to be seen. On paper, the premise shouldn’t work, but the film ultimately delivers a surprisingly powerful emotional arc grounded in genuine sincerity.
The plot is certainly eye-opening: Araminta is a reclusive taxidermist who longs to stuff a human, and Bernie—unseen by society and convinced he won’t be missed—is willing to be her subject so he can finally be remembered. Neither expects to fall in love. Scorned by the town, Araminta has no idea how to process her foreign feelings for Bernie, while Bernie never anticipated finding someone who truly sees him.
Despite its wacky plot, Stuffed feels fairly grounded. While the premise is decidedly absurdist, its core themes and underlying emotions remain deeply human, Bernie and Araminta are merely two outcasts looking for someone to love and accept them. The total commitment from everyone involved is there—from the Burtonesque atmosphere to the wild premise of a woman wanting to taxidermy a human. Yet, despite that dedication, none of it would land without its standout lead performances.
Comer and Melling’s electric chemistry is perfect and is one of the biggest keys to its success. Araminta and Bernie’s connection never feels forced; the romance evolves naturally, making their growing affection for each other feel genuine and believable. Comer excels as the eccentric Araminta, initialy convincing us she thrives in isolation, though it quickly becomes clear she secretly longs for genuine human connection beyond her stuffed creations. Melling, meanwhile, is equally compelling as the painfully awkward Bernie, embodying a deep-seated sense of uselessness and the fear that he would leave no trace behind. Together, they capture their characters’ profound loneliness while poignantly revealing a shared desire for something deeper.
Technically, the film is wonder to behold. It’s a very Burtonesque filled world, like some sort of alternative 90s Sweeney Todd. The production design of the film is standout, as quirky details litter each of the characters houses. Araminta’s house, in particular, is fascinating and littered with taxidermied animals. As for the musical elements, while the songs themselves are serviceable rather than memorable, both Comer and Melling prove to be surprisingly capable vocalists. Whether the film truly needed to be a musical is debatable, but the songs add an extra layer of charm that makes the movie feel just as eccentric as its leads.
The plot may run a little thin in its final act—and the ending will certainly divide viewers—but the surprising heart and charm at the core of Stuffed more than make up for it. If it weren’t for Comer and Melling’s excellent chemistry, the film would not have worked nearly as well, they are the movie. At its foundation, the film succeeds because of their shared search for love and purpose. Watching these two loners strive to be extraordinary for one another is what makes a movie about a taxidermist wanting to stuff a human feel surprisingly charming and sweet.
still courtesy of TIFF
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