As 2026 shapes up to be The Year Of The Big Sequel – The Devil Wears Prada 2, Dune Part Three, Jumanji 4 (subtitle tbc) and Toy Story 5 – truly original films seem to be in shorter supply than ever. So breathe a sigh of relief and give a warm welcome to a genuine one-off, a movie with a bold, distinct vision which isn’t quite the biopic its title implies. The Testament of Ann Lee.
It’s not a name that rings many bells. Back in the 18th century, Ann Lee was the leader of the Shakers, a religious sect founded in Manchester but which fled to America to escape persecution. Much of it was directed towards their ecstatic style of worship, with its shaking, trembling and high-energy dancing, but, as the film shows, Ann’s philosophy of gender and social equality and her desire to build a utopia were equally under attack. The narrative follows the agonies and ecstasies of her life, from her marriage and the deaths of her four infant children to her passionate beliefs and intense bond with her followers.
It’s also billed as a musical. Whether or not you agree with that description, there’s no questioning that presenting the songs and rapturous dancing as a series of 18th-century raves is at the heart of this fearless piece of filmmaking, one that’s almost a mirror image of Ann’s own courage in defying the conventions of the day. That it’s from the combined imaginations of modern cinema’s power couple, Mona Fastvold and Brady Corbet, should come as no surprise. After the success of The Brutalist, they’ve co-written the screenplay again, but now Fastvold is in the director’s chair, and there’s a certain similarity in tone between the two films. Both challenge, surprise and confront. The Testament of Ann Lee isn’t without flaws, but they’re part of the film’s appeal. Fastvold and Corbet are unafraid to take risks, even if they don’t all work; it doesn’t prevent them from making their film in their way. Let’s hope the mould that made them hasn’t been broken.
In the title role, Amanda Seyfried is outstanding, giving the best performance of her career to date. Full of evangelical conviction coupled with humility, and thriving on the frequent close-ups that allow her eyes to do the talking, it’s a world away from her previous film, The Housemaid, which has been an unexpected box office hit. This is unlikely to have the same mainstream appeal, but anybody who responds to its emotional pull, kaleidoscopic camera work and superbly orchestrated crowd scenes will come away with the satisfaction that goes with watching an enthralling piece of cinema. And, while Seyfried leads the way, she’s surrounded by a strong ensemble cast that includes Christopher Abbott in customary low-key mode as her quietly spoken husband who, behind closed doors, is not the man he appears to be. It’s rounded out by Thomasin McKenzie, Lewis Pullman and Tim Blake Nelson, all immersing themselves in smaller but nonetheless pivotal roles.
The Testament of Ann Lee won’t be to everybody’s tastes, but those who lean towards thought-provoking cinema will be captivated by the unexpectedly contemporary attitudes woven into the narrative. Ann is a radical: she’s regarded as the next Messiah, she’s the leader of a religious sect, and, while aspects of her ideology are hard to accept, much of it is compassionate, non-judgemental and humane. The film may be set some 300 years ago, but it speaks loud and clear to the present day.
★★★★ 1/2
In cinemas from February 27th / Amanda Seyfried, Lewis Pullman, Thomasin McKenzie, Christopher Abbott, Tim Blake Nelson, Stacy Martin / Dir: Mona Fastvold / Searchlight Pictures / 15
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