TIFF 2026: STUFFED and MAGAZINE

Playing out of the Discovery program, both Stuffed and Magazine are carefully crafted features from emerging filmmakers. While Theo Rhys takes a somewhat larger creative leap by making a morbid musical with Stuffed, and doesn’t quite stick the landing, Alexandra Pechman makes a somewhat quieter (and more successful) jump with Magazine.

Stuffed

While Theo Rhys‘s feature directorial debut is sure to be marketed as a successor to the Sweeney Todd film, it unfortunately lands quite far from the acclaimed classic musical. Stuffed tries its best at spinning the ingenuity wheel, but doesn’t quite ignite the creative spark that was intended. A relatively well-crafted, if not stale, take on the morbid love story trope.

Bernie (Harry Melling) lives a rather simple life. He works aimlessly in a sandwich packaging factory, visits his ailing mother at a nearby nursing home, and for the most part, spends his evenings alone. That is, until he meets Araminta (Jodie Comer), a reclusive taxidermist looking to “stuff” a human subject. And through Bernie, she seems to have found that special someone who would volunteer their body for her twisted endeavors.

As one might expect, the film ultimately becomes a dark and quirky love story between its central characters, and does so to good effect. Despite Bernie’s awkward sensibilities, the chemistry he shares with Araminta is strong thanks to Melling‘s surprisingly uplifting performance. Amidst all the sadness behind those dreary eyes, there’s also a sense of optimism that comes through as his character falls in love, presumably for the first time. Comer is equally, if not more, impressive, portraying a character that might seem deranged at first glance.

Wyatt Garfield‘s cinematography also casts a bleak disposition for the narrative, which meshes seamlessly with the film’s musical elements. Joss Holden-Rea‘s compositions are somewhat traditional, in the vein of what one might expect for a dramatic musical, with all the usual orchestral elements. There’s nothing inherently wrong with the songs, but also nothing particularly noteworthy or memorable. The score actually outshines the songs themselves, which is unfortunate for a musical.

As the film reaches its third act, Rhys is thankfully able to capitalize on this twisted romance, resulting in a relatively satisfying finale. There’s just the right amount of melodrama that fits naturally within the film’s quirky and dark sensibilities. But as a whole, Stuffed doesn’t quite hit the mark. Comer and Melling are innocent, but their efforts can’t breathe life into what is ultimately a lackluster and spiritless attempt at something original. Rhys does show promise as a filmmaker, though, and has at least done enough to drum up curiosity over what he chooses to do next.

Magazine

Capturing the life of a young woman trying to make a name for herself in the magazine business, Alexandra Pechman‘s directorial debut covers charted territory with poise and maturity. Magazine is a solid, and perhaps overly cautious, take on a familiar story.

Moving to New York to start a new internship at Platen, a prestigious literary magazine, Nora (Lily McInerny) soon realizes that working hard might simply not be enough. Although she bonds with her fellow interns (Lukita Maxwell, Daniel Zolghadri, Ruby Cruz), there’s also tension with more senior staff, particularly Thomas (Joshuah Melnick), whom Nora forms a romantic relationship with.

If Pechman had a particular style in mind when crafting Magazine, it would be simplicity, which is not necessarily a point of criticism. Void of any overt stylistic flare, she really relies on the charm of New York City that flows in the background. This clean-cut approach to filmmaking mirrors Nora’s innocence, particularly in the beginning. As her character’s innocence starts to chip away, it would have been nice to see a starker change in the film’s stylistic approach as well. There are certainly hints of a more energized take on storytelling towards the end, but the effort is, alas, a tad bit too minimalistic.

McInerny is quite striking as the film’s lead, and she carries Magazine on her shoulders with elegant acuity. Nora is a character we have certainly seen before, but McInerny‘s portrayal adds a layer of confidence that serves the film’s overall messaging quite well. Pechman‘s music choices are also spot on and never takes over a scene, like many song-heavy movies have a habit of doing. Alex Ashe’s cinematography is transformative in a subtle way, creating a more dated aesthetic that’s appropriate for the story’s 2011 backdrop.

Magazine is a film that very much feels like a New York City film, without pushing the city, and all its baggage, into the audience’s face. While not the most eclectic piece of storytelling, it’s thoughtfully put together, and certainly cements Pechman as a filmmaker to watch.