Movie musicals often carry heavy expectations: grand sets, show-stopping numbers, and a budget that could fund a small space program. But every so often, a film comes along that proves originality and heart matter more than spectacle. Stuffed, the new gothic musical from director Theo Rhys and co-writer Joss Holden-Rea, is exactly that—a wonderfully weird, surprisingly tender love story wrapped in orchestral grandeur and a morbidly beautiful aesthetic.
The film introduces us to Araminta (Jodie Comer), a reclusive taxidermist who finds solace in preserving the dead animals she rescues from the roadside. Her care for these creatures is almost maternal, but she harbors a darker ambition: to stuff a human specimen. Enter Bernie (Harry Melling), a factory worker stuck in a bleak, fog-drenched existence. He's invisible to the world, his mother's dementia erasing even his name, and he longs for a legacy that seems impossible. When these two oddballs collide, they strike a bizarre bargain—Bernie will let Araminta preserve him after death, granting him a twisted form of immortality.
What follows is a love story unlike any other, as Araminta and Bernie find in each other a understanding they've never known. Their relationship complicates their morbid plan, forcing them to confront their traumas and fears in unexpected ways. It's a familiar narrative arc, but the film's musical backbone elevates it, keeping the momentum alive even when the pacing falters.
The score, leaning toward the classical stylings of Les Misérables rather than contemporary Broadway, is a standout. Strings swell with menace and tenderness, perfectly matching the film's gothic tone. Comer and Melling deliver vocal performances that are both powerful and nuanced, carrying the two-hander with ease. The musical numbers are intimate rather than extravagant, shot with a Tim Burton-esque sensibility on an indie budget. The best sequence—a fake suicide, an exploding car, and the triumphant number "Nothing's Changed"—is a masterclass in storytelling, blending dark humor with genuine emotion.
Visually, Stuffed uses a palette of blue and gold to contrast the grim reality of life with the romantic allure of death. The rural setting, with its foggy fields and brutalist factories, creates a world where survival feels like a chore. Yet within this bleakness, the film finds beauty in the macabre, suggesting that love—and even death—can offer a strange kind of safety.
Comer and Melling are phenomenal, bringing depth and vulnerability to characters who could easily be caricatures. Their chemistry is palpable, making the film's central relationship both believable and heartbreaking. Stuffed is a testament to the power of original storytelling, proving that you don't need a massive budget to create a memorable musical. It's a strange, beautiful, and utterly unique experience that will linger long after the credits roll.
For more on the film, check out our exclusive clip of Jodie Comer singing to a corpse, and see how Harry Melling's career has evolved since his upcoming crossover with Mare of Easttown.
