Image Courtesy of Venice Film Festival.
The Testament of Ann Lee is an extremely ambitious period piece, realised by Norwegian director Mona Fastvold together with her long-time collaborator Brady Corbet (The Brutalist, 2024). The story follows Lee, born in Manchester in 1736, who founded the Christian sect known as the Shakers, worshipping through ecstatic song and movement. She proclaimed herself the female embodiment of God and the second incarnation of Christ, while also holding the unwavering belief that sex, in any form, was immoral. Today, only three Shakers remain. Amanda Seyfried plays the role, delivering a performance already sparking Oscar buzz.
While the cast and crew deliver an extraordinary work of art, the depiction of Mother Ann Lee remains somewhat problematic. Highlighting iconic female figures can be inspiring, but celebrating a radical Christian leader requires far more nuance than invoking “female leadership.” Setting aside the ongoing debate and the rightfully raised questions about why now this retelling of a fervent founder of a Christian sect, Fastvold’s film demonstrates an artistic brilliance that demands acknowledgment.
Watching this period piece feels more like peering into Ann Lee’s life than following a traditional narrative. The trick is not merely shooting on 35mm film and blowing it up to 70mm it goes far deeper. Cinematographer William Rexer is at his best, seemingly freed from the fear of grainy, underlit scenes and instead encouraged to celebrate shadows. It’s a fair bet that he and his lighting team are drawing inspiration from the masters, none other than Rembrandt himself.
The costume design by Malgorzata Karpiuk, whose work includes the Oscar-winning The Zone of Interest (2023), is equally impressive. Her hand-made costumes are not only meticulously crafted, but also beautifully lived-in.
The visual feast continues with the set design, which re-creates a gloomy Manchester as a small market town on the cusp of industrial transformation. Interiors are carefully detailed, with almost nothing breaking the illusion of the Georgian era. Lee and her followers’ transatlantic journey to America is wonderfully captured in Gothenburg, Sweden, using a fully operational 18th-century ship replica. The director notes, “It was a beautiful replica, right down to the hand-stitched sails.”
Mona Fastvold’s movie becomes almost immersive through its score, composed by British artist Daniel Blumberg, who holds an Oscar for The Brutalist. He also composed songs based on the original Shaker hymns and was deeply involved in the production, remaining on set during shoots and collaborating closely with American dancer and choreographer Celia Rowlson-Hall.
Das Testament von Ann Lee is a collective work of art, executed diligently. It unsettles at times with its rough scenes but redeems itself through its compelling aesthetic and musicality.