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In a cinematic landscape where originality can sometimes feel scarce, The Testament of Ann Lee stands as a bold reminder that film can still surprise us. Directed by Mona Fastvold and co-written with Brady Corbet, this 2025 historical musical drama offers a striking and unconventional portrayal of the life of Ann Lee, the founder of the Shaker religious movement. Anchored by a commanding performance from Amanda Seyfried, the film is visually extraordinary and intellectually compelling, though it sometimes struggles to forge a strong emotional connection with its audience.
The story begins in mid-18th-century Manchester, where Ann Lee lives a difficult life shaped by poverty, grief, and religious searching. Lee and a small group of friends eventually encounter an unconventional religious gathering whose ecstatic worship—marked by singing, dancing, and chanting—quickly captures her imagination. Before long, Lee emerges as the group’s spiritual leader, claiming to receive divine revelations directly from God. Her teachings soon distinguished the group from the Religious Society of Friends, eventually evolving into what would become known as the Shakers.
The film follows Lee as her spiritual influence grows and her teachings become increasingly radical. Among the most controversial was her declaration that God demanded absolute celibacy. In Lee’s vision of spiritual purity, sexual relations—even within marriage—were forbidden. Eventually, she went even further, proclaiming herself the female embodiment of Christ, a claim that outraged many in England. Facing hostility and persecution, Lee and a small band of followers sailed to New York City, where they attempted to establish a new utopian society based on equality, discipline, and communal living.
While the narrative itself is fascinating, The Testament of Ann Lee is far more interested in exploring the spiritual and physical experiences of its characters than in conventional biography. Fastvold’s direction leans heavily into atmosphere and symbolism, blending historical drama with experimental musical elements. The Shakers’ distinctive style of worship—characterised by rhythmic movement, chanting and trance-like dancing—forms the emotional and visual core of the film.
These sequences are easily the most memorable aspect of the production. Rather than traditional musical numbers, the film presents ritualistic bursts of sound and movement that feel almost hypnotic. Percussive rhythms, haunting hymns, and choreographed group movements transform moments of worship into powerful cinematic spectacles. The result is something rarely seen on screen: a musical experience that feels raw, spiritual, and almost anthropological.
The craftsmanship on display throughout the film is exceptional. The cinematography captures the harsh textures of 18th-century life while also elevating moments of religious ecstasy to almost otherworldly heights. Grainy, tactile visuals—particularly impressive when projected on 70mm—immerse the viewer in a world that feels both historical and mythic. The production design and art direction are equally remarkable, creating an authentic yet stylised portrait of early industrial England and colonial America.
At the centre of it all is Amanda Seyfried’s extraordinary performance as Ann Lee. Rather than portraying Lee as a conventional historical figure, Seyfried embodies a woman caught between physical suffering and spiritual conviction. Her performance is intense, restrained, and at times deeply unsettling. Seyfried captures the paradox at the heart of Lee’s character: a leader who inspired devotion, hope, and communal unity while simultaneously imposing extreme discipline on her followers.
The supporting cast also delivers strong performances. Thomasin McKenzie provides the film’s narrative perspective as Mary, one of Lee’s closest followers, whose voiceover frames the story with a tone that feels almost like folklore. Lewis Pullman brings warmth and loyalty to the role of Lee’s brother, while Christopher Abbott adds complexity as Lee’s troubled husband, Abraham.
Despite these strengths, the film may prove challenging for mainstream audiences. While the intellectual and artistic ambition of the project is undeniable, the story itself remains emotionally distant. Viewers may find themselves admiring the craft, the performances, and the historical ideas without feeling deeply invested in the characters. The film explores themes of faith, persecution, and utopian idealism, yet it rarely invites the audience fully into the emotional lives of those experiencing them.
Still, there is something undeniably fascinating about the world the film reveals. The Shaker movement was remarkable for its time, promoting racial equality, pacifism, communal living, and gender balance—values that were radical in the 18th century. Fastvold’s film approaches these ideas with sincerity rather than irony, allowing audiences to witness a religious movement on its own terms rather than through a modern lens of ridicule or scepticism.
The result is a film that feels both captivating and bewildering. Moments of spiritual intensity can border on the absurd, yet they are presented with such conviction that they remain strangely compelling. Rather than inviting laughter, these sequences provoke curiosity and reflection.
Ultimately, The Testament of Ann Lee is not a film designed for mass appeal. Its slow pacing, experimental musical elements, and emotionally distant storytelling make it more suited to viewers interested in history, religion, or unconventional cinema. However, for those willing to engage with its unique vision, the film offers an intellectually rewarding and visually stunning experience.
More than a straightforward historical drama, The Testament of Ann Lee is a meditation on belief, community, and the human search for transcendence. It may not leave audiences emotionally moved, but it will almost certainly leave them thinking—and perhaps a little astonished that cinema can still produce something so unusual and daring.
Rating: 3/5 Stars
Jason Harris
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