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The Testament of Ann Lee

The Testament of Ann Lee is a 2025 historical musical drama film directed by Mona Fastvold, who co-wrote it with Brady Corbet. The film stars Amanda Seyfried as Ann Lee, the founding leader of the Shakers religious sect in the 18th century. It also stars Thomasin McKenzie, Lewis Pullman, Stacy Martin, Tim Blake Nelson, and Christopher Abbott in supporting roles.

Plot
Ann Lee is born in Manchester in 1736 ("The Testament of Ann Lee"). During childhood, she and her younger brother William work at a cotton factory. One night, she witnesses her parents having sex and associates the act with sin; during a meal, she says she knows what her father does to her mother, and her father beats her hands with a switch. As she grows older, she becomes more pious and takes a job as a cook at a local infirmary. One day, she, William, and their niece Nancy visit the home of Jane and James Wardley, Quakers who preach that Jesus's Second Coming will be a woman and embrace public confession of sin and impromptu shouting, dance, and song as part of worship. Ann becomes a fixture within the group of "Shaking Quakers" and marries fellow believer Abraham ("Worship"). Ann's trepidations around sex are worsened by her husband's interest in sadomasochism and oral sex as well as the tragic death of all four of their children in early infancy ("Beautiful Treasures"). Eventually, the Shakers sufficiently unnerve the locals and disturb the peace, including interruption of a church service, that authorities arrest Ann and imprison her for 14 days. During this time, she refuses to eat or drink ("I Never Did Believe"). She has a vision of herself levitating, and of Adam and Eve in the Garden of Eden, which she takes to mean that original sin was fornication and therefore humanity must abstain from marriage and sex ("Hunger and Thirst"). She shares this with other Shaker leaders and they determine she must be the female Messiah they were awaiting, renaming her "Mother Ann." William ends his secret homosexual relationship with his lover, cuts his hair as Ann directed, and commits to supporting her. After an angry crowd injures Ann and her followers, they elect to leave Britain for New England, funded by Hocknell, a wealthy farmer. They sail aboard the Mariah. During the voyage, Nancy becomes enamored with new convert Richard, Hocknell's son ("Today Today"). Despite sometimes threatening mockery of their rituals by the crew, Ann helps keep up morale during a violent storm and earns the crew's respect ("All is Summer"). Upon arriving in New York City, Ann sends William and other men north to find land for their community. The men are guided by a vision experienced by Hocknell after three days of prayer which includes his finger wagging uncontrollably; this shaking digit points him to the meadowland site ("John's Running Song"). During the months spent waiting to hear back from the men, Nancy, following an assignation with Richard in a privy discovered by his father, leaves the community to marry Richard. Abraham leaves Ann, frustrated with their marriage and lack of sex, after bringing another woman into Ann's bedroom and having that woman perform oral sex on him while Ann turns her back in disgust. That spring, Ann and the others rejoin William in Niskayuna where they have begun developing a settlement. William is sent out to preach at other established communities ("Bow Down O Zion"). The population of Niskayuna steadily grows with converts and foundling children who are adopted into the community ("I Love Mother"). This number also shows the development of the Shaker aesthetic in furniture and architecture as well as some of the items invented by Shakers. Ann is arrested by the Continental Army for insisting their community remain neutral during the war ("Stone Prison"). After being freed by the sympathetic Governor of New York George Clinton, she travels around New England, establishing Shaker communities, though some people suspect her of witchcraft. Ann recruits new followers at a local farm where they are attacked by an angry mob. The farm is burned down and several Shakers are beaten, some fatally so. Ann, while telling the Shakers not to retaliate, is stripped naked below the waist by men who question her gender, calling her "eunuch" and "it" before pronouncing that she "has the proper parts" but is not a woman. They also accuse her of witchcraft. Badly injured, Ann recalls her childhood with William during their journey home ("Down to the Deep"). William dies shortly after, while prominent follower (and the movie's narrator) Mary is blinded in her left eye. A year later, Ann, who never recovered from the attack, dies at age 48. She is buried in the village, now a thriving and self-sustaining religious community ("Beautiful Treasures Funeral"). The credits mention the peak population of various Shaker communities (estimated at 6,000 in 1840), and that there are only two Shakers left as of July 2025 ("Clothed by the Sun"). ==Cast==
Cast
Amanda Seyfried as Ann Lee • Esmee Hewett and Millie Rose Crossley as 6-year-old and 12-year-old Ann • Lewis Pullman as William Lee, Ann's brother • Benjamin Bagota and Harry Conway as 4-year-old and 10-year-old William • Thomasin McKenzie as Mary Partington, Ann's closest friend, who is also the film's narrator • Matthew Beard as James WhittakerChristopher Abbott as Abraham Standerin, Ann's husband • Viola Prettejohn as Nancy Lee, Ann's niece • Stacy Martin as Jane Wardley • as James Wardley, Jane's husband • David Cale as John Hocknell • as Richard Hocknell • Tim Blake Nelson as Pastor Reuben Wright • Daniel Blumberg as Deacon Talmadge Bishop • Willem Van Der Vegt as Ann and William's father • as Ann and William's mother • Alexis Latham as Mr. Cunningham • Shannon Woodward as Mrs. Cunningham • as Captain Smith ==Production==
Production
Development Director Mona Fastvold conceived the idea for the film after discovering a Shaker hymn while wrapping her second film, The World to Come (2020). Fastvold stated that the project initially struggled due to "zero interest" from the industry. Casting Regarding the casting of Amanda Seyfried as Ann Lee, Fastvold stated, "Amanda has a lot of power. She's really strong. She is a wonderful mother. She is a little mad, and so I knew that she could access those things. She could access the kindness, the gentleness, the tenderness, and she could also access this power and this madness." Filming ''. Principal photography took place in Budapest, with two days of filming also taking place aboard the replica ship Götheborg, which was docked in Gothenburg. Like The Brutalist (2024), which was co-written by Fastvold and directed by her longtime partner, Brady Corbet, the film was shot on 35 mm film stock. Corbet, who co-wrote Ann Lee, acted as a second unit director on the film. Filming wrapped in December 2024. Rehearsals took place in New York. As Lee birthed four children (all of whom died in infancy), Fastvold sought to depict the births "as real and direct and graphic and unapologetic as possible" using prosthetic vaginas. He worked with Fastvold from the pre-production stage to the sound mixing process, describing the film as "one of the most experimental, extreme project[s he has] ever done." The soundtrack details were released on 15 December 2025. ==Release==
Release
, Amanda Seyfried, Mona Fastvold and Daniel Blumberg at the 76th Berlin International Film Festival A first look was released on 22 July 2025. Charades and CAA Media Finance acquired the sales rights to the film on 26 August 2025. The film premiered in the main competition of the 82nd Venice International Film Festival on 1 September 2025. It was also screened at the 2025 Toronto International Film Festival, and in the Official Competition at the 2025 BFI London Film Festival on 11 October, and then in the Special Presentations of the 61st Chicago International Film Festival on 16 October 2025. Through September and December 2025, the film was screened at the Zurich Film Festival; the Hamptons International Film Festival; the Woodstock Film Festival; the Montclair Film Festival; the AFI Fest; the Philadelphia Film Festival; the SCAD Savannah Film Festival; Beyond Fest; New Orleans Film Festival; the Austin Film Festival; the Miami Film Festival; the Denver Film Festival; the St. Louis International Film Festival; the Lisbon & Estoril Film Festival; the Inverness Film Festival; the Independent Film Festival Boston; the Virginia Film Festival; the Leeds International Film Festival; the Heartland International Film Festival; the Ojai Playhouse Film Festival; the Santa Fe International Film Festival; the EnergaCAMERIMAGE 2025; the Tahoe Film Festival; and the Sun Valley Film Festival; with some of these screenings presented in 35 mm, 70 mm, and IMAX formats. In September 2025, Searchlight Pictures acquired distribution rights to the film in North America and several international territories, giving it a limited theatrical release on 70mm film in the United States on 25 December 2025, before expanding wide on 23 January 2026, and later releasing in the United Kingdom on 27 February 2026. Marketing On 6 November 2025, the first teaser trailer made its online debut. The official trailer was released on 7 January 2026. The first theatrical-release poster was released on 19 November 2025, while a second poster followed on 10 December 2025. ==Reception==
Reception
Critical response In his five-star review for The Irish Times, Donald Clarke described the film as "the stuff of masterpieces" and praised Fastvold for "creating a convincing version of Lancashire torn between industrial modernity and apocalyptic mysticism," adding that in the titular role, "Seyfried is electrifying." Meanwhile, Peter Bradshaw of The Guardian rated the film three out of five stars, calling it "a genuinely strange film, elusive in both tone and meaning, one which deploys the obvious effects and rhetorical forms of irony, while at the same time distancing itself from these effects and asking its audience to sympathise with and even admire [Ann] Lee, because she is not supposed to be the villain." Robbie Collin of The Telegraph rated it four out of five stars, calling it "ravishingly staged and thrillingly ambitious" and writing that it "left [him] feeling wobbly and breathless." David Ehrlich of IndieWire gave the film a grade of A−, calling it "a speculative, feverish, and altogether rapturous biopic," and declaring that Seyfried "gives the best performance of her career." Guy Lodge of Variety wrote, "As a study of unyielding faith practiced on wholly singular terms, it's raptly respectful and intellectually curious, even if, dramatically, it can pall across the course of a languid 136-minute runtime. But it's as a full-blown song-and-dance affair — about the least likely, biggest-swinging shape Lee's story could have taken — that the film is most stunningly persuasive." Lodge further added that Seyfried is "quite dazzling as Ann, the self-made icon, wielding a poised, peaceable, but controlling authority in scene after scene." She also commends the film’s technical achievements, noting that "the cinematography and the costumes immediately bring us back to mid-18th-century England, and later in the film, the United States." Zacharek added that The Testament of Ann Lee is "a movie that takes big chances in a culture that, most days, seems allergic to them." Further praise for her performance came from Adam Nayman of The Ringer, who noted that "Seyfried powers through a performance that earns its instant tour de force reputation and then some." AwardsWatch's Roberto Ruggio awarded the film an A, affirming that "Angelic and fierce at once, Seyfried gives the performance of a lifetime, ferocious, visceral, and vulnerable, making Ann Lee not just a historical figure from the past, but bringing her alive again." Jeff Ewing of Collider affirmed that Ann Lee is "the role Seyfried was born to play," adding that "it's hard to imagine another person as the controversial figure." Bestowing an A+ grade, Cameron Ritter from InSession Film hailed the film as "the movie of the year," calling Seyfried’s performance "breathtaking" and noting that "her singing and emotional range are on full display." Ritter also commended Pullman’s work as William, describing it as his "best performance to date." Ryan also concludes that "Seyfried’s luminous performance make it a biopic that lingers long after the credits roll and demands to be seen more than once." IndieWire named Seyfried to its list of "The 24 Best Film and TV Performances of 2025", writing that she "plays Lee not as a historical symbol but as a woman wrestling, painfully, with the magnitude of her own calling,” and adding that "she doesn’t just carry the film — she transfigures it into her own image." Meanwhile, in the site's annual critics poll of "Best Performances in 2025", she placed ninth. In their list of "The Best Performances of 2025", The Film Stage ranked Seyfried's performance in the role at No. 10, stating that the actress "seems to direct the camera, guiding it with famously expressive eyes towards gestures untethered to the frame. When she levitates, we join." Editors at Roger Ebert selected Seyfried for their list of "The Great Performances of 2025" and emphasized that the actress "was gifted the role of a lifetime, and she absolutely delivers in one of the most demanding roles of her entire career." Spectrum Culture cited Seyfried among its selections for the "Best Film Performances of 2025", describing her as a "compelling lead actor" and noting that "you can almost see yourself becoming [Ann Lee's] disciple, despite unwavering chastity, something that actors who play religious figures rarely achieve." Collider also included Seyfried in its The Best Movie Performances of 2025 roster, noting that she "gives her all" in a role that is "emotionally and physically draining, but the actress doesn’t hold back in going where she needs to go to capture the essence of [Ann Lee]". The film was ranked sixth on The GATE's 100 Best Movies of 2025 list, which highlighted "Seyfried’s revelatory lead performance" and emphasized that it "isn’t just a high point for the actress, but the best performance from anyone all year." Rodrigo Perez of The Playlist wrote that Seyfried's performance "lands as another reminder that Seyfried isn’t just excellent; she’s one of the defining actors of her generation" in the site's list of "The 31 Best Performances of 2025". Other sites such as Yardbarker, When Things Go Pop and FilmBook also included Seyfried in their lists of Best Film Performances of 2025. Additionally, W included Seyfried in their Best Performances issue for 2026, with Lynn Hirschberg noting that "Seyfried embodies the real-life 18th-century founder of the Shaker movement with quiet authority, stripping away the sensationalism often attached to religious leaders." Floortje Smit, from Dutch newspaper De Volkskrant, wrote, "[the film] is physical experience that moves and alienates." And Alex Mazereeuw from the same newspaper gave 4 stars (of 5 stars) and wrote "It was precisely her compassion and courage that were the keys for me to understand the character." Year-end lists The Testament of Ann Lee has appeared on numerous critics’ annual lists of the best films of 2025, including: • 1st – Matt Brennan (Los Angeles Times: The Envelope) • 1st – Stephen Dalton (Sight and Sound) • 1st – Jake Fittipaldi (The Rolling Tape) • 1st – Megan McLachlan (The Contending) • 1st – Coleman Spilde (Salon.com) • 1st – Jason Shawan (Nashville Scene) • 2nd – Jackson Weaver (CBC News) • 2nd – Tim Dams (Screen Daily) • 2nd – Katherine McLaughlin (Sight and Sound) • 3rd – Nadia Arain (The Rolling Tape) • 3rd – Maryann Johanson (Inlander) • 3rd – Katie Rife (RogerEbert.com) • 3rd – Morgan Roberts (Female Gaze: The Film Club) • 4th – Ben Dalton (Screen Daily) • 5th – Sheri Linden (The Hollywood Reporter) • 5th – Zach Lewis (Slant Magazine) • 5th – Adam Patla (The Rolling Tape) • 5th – David Thompson (Sight and Sound) • 6th – Justin Clark (Slant Magazine) • 7th – Marc Mohan (Oregon ArtsWatch) • 8th – Miriam Balanescu (Sight and Sound) • 8th – Adam Nayman (The Ringer) • 8th – Matt Neglia (Next Best Picture) • 9th – SlashFilm • 9th – Monica Castillo (RogerEbert.com) • 9th – Malcolm McMillan (''Tom's Guide'') • 9th – Kaiya Shunyata (RogerEbert.com) • 10th – Natalia Keogan (Film Comment) • 16th – Gregory Ellwood, Rodrigo Perez (The Playlist) • 20th – Beatrice Loayza (Film Comment) • 27th – In Review Online • 35th – Collider • 44th – The Film Stage • Listed alphabetically, not ranked – Gold Derby • Listed alphabetically, not ranked – Sojourners • Listed alphabetically, not ranked – Vogue • Listed alphabetically, not ranked – Erik Anderson (AwardsWatch) • Listed alphabetically, not ranked – Robert Daniels (Film Comment) • Listed alphabetically, not ranked – Rendy Jones (RogerEbert.com) • Listed alphabetically, not ranked – Dylan Marchetti (Screen Slate) • Listed alphabetically, not ranked – Collin Souter (RogerEbert.com) • Listed alphabetically, not ranked – Kelli Weston (Screen Slate) • Listed alphabetically, not ranked – Esther Zuckerman (Screen Slate) Accolades ==References==
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