The Testament of Ann Lee

A fog of mysticism shrouds this biopic about radical 18th century preacher Ann Lee (Amanda Seyfried), who led the Christian sect the Shakers to the United States through hardship and oppression. Though it might seem unconventional material for a musical, this rich and enchanting film from Mona Fastvold, co-written by The Brutalist director Brady Corbet, embraces the Shakers’ ecstatic worship and tethers it to both an earthy story and songs.

Ann begins her preaching from a young age in Manchester, haunted by visions that foretell a divine future. Ann’s radical ideas (that God is both male and female, that she is the female reincarnation of Jesus, that perpetual celibacy is the one true path to salvation) come across in bizarre and startling ways through Fastvold and Corbet’s script. They range from startling to deeply engaging, the viewer left to decide if this community is idyllic, or simply mad.

Narrated exceptionally by Thomasin McKenzie and littered with occasional fantastic elements, the film is at times closer to The Wicker Man than a straight historical account. Frantic dancing, shouted repentance, howling seastorms and hellish images of persecution batter the characters and the screen. Sometimes things seem about to tip over the edge into pantomime and lose you, but Fastvold’s steady directorial hand retains control of her material. The film smartly reflects the flagellant devotion Lee’s preaching inspired through the way it tells its story.

Amanda Seyfried continues her strong list of dramatic historical performances (Lovelace, Mank, The Dropout) with her work as Ann Lee, who endures ecstatic successes and debilitating humiliations, whilst maintaining a believable and deep humanity. There are moments where her suffering appears a little too engineered for a shot at major awards, and a few times her Mancunian accent threatens to slip, but she remains steadfastly embedded within a role you could imagine descending into parody in less capable hands.

A confident and bold new style of musical about an outlandish figure from history, it makes one wonder if Fastvold should consider turning her eye to any other mysterious individuals from the past. Rasputin, anyone?