STUDS

STUDS is a distinctly British comedy short that balances sardonic wit with some genuinely sweet drama. Barney Walsh and Sarah Seggari star as Harry and Mia, a young pair who have been chosen for the government’s breeding program (or ‘state sponsored shagging’ as described by Mia) in the midst of a population crisis. The two must spend a weekend getaway together, or else they face execution. Matters are complicated when it’s revealed that Harry and Mia share a history together, potentially jeopardizing the program and their safety. The short is fun, witty, and creative, with Carys Eleri standing out with effortless comedic instincts. STUDS may fall short for audiences expecting a more substantial exploration on the nature of relationships, but as a pure comedy, it’s a worthwhile and likable film.

In a great British comedic tradition, STUDS never takes itself and its drama too seriously, and in doing so it maintains a breezy and easy-going tone. Walsh and Seggari make for a compelling couple; it’s not hard to believe that their characters have had an awkward past, and they play off each other confidently. Much of the same can be said about Eleri, who perfectly embodies her character with disarming overconfidence. Julie is important in delivering the short’s premise to the characters and the audience, and thankfully her performance is charming enough that it doesn’t feel like dry exposition. The comedy is varied throughout STUDS, ranging from clever wordplay to clever visual gags that rewards the attention of viewers. From a clinical government issue edition of the Kama Sutra that resembles an NHS pamphlet to alcohol being labelled as ‘PRE-COITAL STIMULANT’, there’s plenty of cheeky humour dotted within the film. While tensions do begin to rise when Harry and Mia discuss their break-up and the frustrations with their lack of shared interests, STUDS never tips into melodrama, and the darkly comedic tone remains intact. It’s an impressive tight-rope to walk, and it’s thanks to the performances from all three members of the cast, as well as the deliberate direction from Edward Russell, that the short can deliver good jokes with fairly well rounded characters.

It’s impressive that Harry and Mia feel as defined as they do considering the short’s less than 15 minute run time. Walsh and Seggari’s characters feel lived in and grounded, each with their own distinct body language and attitudes. It’s no wonder the two of them say they have nothing in common when they appear so diametrically opposed to each other. Julie additionally comes across as a fully formed character, despite a much more limited screen time. The attention to detail given to each character in the writing makes the drama feel much more tangible - STUDS must have some stakes for the audience to invest in, even if the short is largely comedic. It’s possible that some viewers will want more out of the drama, to see the relationship between Harry and Mia further developed and given some weight, which is entirely reasonable. More time to iterate on the premise would undoubtedly have been interesting, and it’s noticeable that the film rushes through its ending in a less than satisfying conclusion. Still, the comedy almost entirely lands, and every single performance here is purposeful, believable, and charming.

STUDS is a difficult film not to like. While it’s often silly, there’s a certain amount of restraint in the filmmaking - it would have been easy to stretch the premise thin and veer too close to farce. It would be fair to compare STUDS to Lanthimos’ The Lobster, which similarly uses dark comedy in a dating context. In both films, the characters take the situations they’re in seriously, never lampshading or winking to the audience. In doing so, we’re encouraged to take the characters seriously, laugh when we’re clearly invited to, and to possibly think more about the absurd reality of dating and relationships.