Film Review: THE TESTAMENT OF ANN LEE (2025): Amanda Seyfried Delivers a Moving Performance in a Fascinating Account of the Shakers

The Testament of Ann Lee Review

The Testament of Ann Lee (2025) Film Review, a movie directed by Mona Fastvold, written by Brady Corbet and Mona Fastvold and starring Amanda Seyfried, Lewis Pullman, Thomasin McKenzie, Matthew Beard, Christopher Abbott, Viola Prettejohn, David Cale, Stacy Martin, Scott Handy, Jeremy Wheeler, Tim Blake Nelson, Daniel Blumberg, Willem Van Der Vegt, Millie-Rose Crossley and Esmee Hewett.

Director Mona Fastvold’s ambitious religious film, The Testament of Ann Lee, features Amanda Seyfried in her most proficient leading role to date. As the titular Mother Ann Lee, Seyfried’s performance as the leader of the group known as the Shakers is simply awe-inspiring. Seyfried has total control over her work in this picture as she steers her performance towards the characteristics of Ann in a very compelling manner. While the film sheds significant light on what made Mother Ann such a formidable presence in the movement the picture portrays, some of the supporting performances lack as much depth as Seyfried’s character possesses due to a script that undermines a few of the other characters’ functions in the picture.

As the film opens, we meet Ann as a little girl (played quite well by Esmee Hewett and Millie-Rose Crossley). Ann has a purity about her that makes her repulsed when she hears adults such as her parents being intimate with one another. Ann grows up and finds herself becoming intrigued enough by her beliefs to stand with others in the movement of the Shakers, Quakers who express themselves through song and dance in creative ways that allow for physical freedoms that help them get in touch with their beliefs through movements which highlight personal liberation and independence. Ann’s brother, William (a fine Lewis Pullman), is a key ally in her rise while Ann develops a relationship with a man named Abraham (Christopher Abbott) in the interim which makes for at least a couple of raw sex scenes.

Ann sadly gives birth to several babies who die premature deaths. She and Abraham seem to be on different wavelengths at times and their relationship, though well-developed, doesn’t make much of an impact on the audience after its initial stages. Mother Ann goes on to express her dissatisfaction towards fornication and suggests there is sin in certain sexual relationships. There is ultimately the suggestion made that God is both male and female, especially if people were created in God’s own image. For expressing her viewpoints, Ann suffers greatly as she tries to thrive and inspire under very difficult circumstances.

As Sister Mary Partington who is the narrator of the movie, Thomasin McKenzie is painfully underutilized here. She occasionally adds insights to the film through her character’s dialogue, but McKenzie’s role feels like it was left on the cutting room floor more often than not. Tim Blake Nelson also makes a brief, surprising appearance as Pastor Reuben Wright and, once again, Nelson makes his presence known in what is definitely a small role within the picture, but because of Nelson’s distinct characterization on-screen, Nelson acquits himself admirably here.

With its 18th Century setting, the music and movement here is very capable of carrying the movie’s themes efficiently through the picture’s two hour-plus running time. Seyfried is the guiding force that holds the picture together. She creates a believable bond with her brother played by Pullman. Seyfried’s ability to inhabit this character is very respectable as Mother Ann becomes the principal participant in the action as she lives with her full heart in order to make her life a valuable one that serves a higher purpose for those who she associates with.

Abbott is effective even though his character seems to get lost in the shuffle a bit in the movie’s second half. The power of freedom of expression is conveyed through Ann’s personal journey and Abraham could have been written a little more sharply. Abbott doesn’t falter in the role though the script could have been tweaked a bit to highlight his greater purpose in Ann’s life a bit more clearly.

The Testament of Ann Lee is emotionally resonant. Seyfried never falters in a role that could have possibly been  easy to dismiss in a lesser actress’s hands. This film brings some history lessons into the mix as well with the mention of George Washington near the end which makes the events of the movie even more relevant. This isn’t a musical by any traditional standards although some reports have claimed it is one. I suppose it is a musical in one respect, but it’s one of the more ambitious ones that blurs the traditional lines of genres, making it impossible to correctly categorize. This is more of a personal journey of self-discovery and the story of a movement that changed many lives forever and made Mother Ann a notable figure for her bravery and ability to express herself regardless of the consequences of her actions.

While The Testament of Ann Lee won’t appeal to everyone, if one enjoys movies about the fight for independent thinking and is interested in the founding of a religious movement, this film will prove to be appealing. Even though it sounds like this film could have been nothing more than a historical account of the events it portrays, it’s actually quite unique and powerful with Seyfried triumphing in a performance that ranks her work among some of the best female performances of the year.

Rating: 7.5/10

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