By Chlotrudis Independent Film Society
Rating: 4.5 cats
Director: Mona Fastvold
Starring: Amanda Seyfried | Christopher Abbott | Lewis Pullman | Matthew Beard | Thomasin McKenzie
Year: 2025
Running time: 137
IMDB: https://www.imdb.com/title/tt34819091
Brett says: “Mona Fastvold’s THE TESTAMENT OF ANN LEE is a master class in film editing. The pace and construction is hypnotic, whether it be through the choreography and musical sections or the depictions of the actors’ portrayals with the added advantage of how they are edited and framed. Every moment, every shot feels like it is composed as a museum-worthy work of art. This is fitting since one of the hallmarks of the Shaker community was/is a focus on meticulous craftsmanship. On the whole, the work is an entire monument to ‘form follows function.’ Note where the altar is in the meeting houses in the film–it’s created by the worshippers and is not a place or thing in of itself. ANN LEE is a human-shaped altar for cinema.
“One might thumb through reviews and hear inevitable and far too many ‘despite the subject matter …’ (or some variation of that) exemptions for complimenting the work, but this piece is cinema above all else, and–ironically–the film does not seem overly interested in standing behind a pulpit in the ways that many non-religious films seem so inclined. So, the need to excuse oneself from heaping favor on the work could be a secret underlying theme within the film. To clarify, if anything, the film on the whole could be argued as a cinematic symbol for how other filmmakers too often choose a path that takes away subjectivity and relativity that leans into groupthink conjurings. Again, given the subject matter of this film, that analogy just broadens the spectrum of how far this piece of art reaches; that is, while it is so self-contained and channeled on a specific sect, one of the images reflected is how denominational movie-watching and movie-watchers can be (not to mention producers who seems resistant to allow a movie like this ever to be made). Ann Lee and followers are reverent within the work, and it feels as if the film is a mother for cinematic reverence. With that said, fans of the traditional biopic who might say that the audience does not really get to know Ann Lee or get into why we should feel for Ann Lee help prove that point by asking to be told how to perceive, judge, oversee, and get to know the character. The rebuttal here is that this is not ‘An Ann Lee Joint;’ she is a placeholder–a vessel, if you will–for a much bigger picture.
“This is not an entry into the biopic subgenre; ANN LEE supersedes or transcends it, fittingly enough. I don’t know Mona Lisa‘s underlying or hidden political, religious, and social agendas or motivations for sitting in a chair to be painted or why I should care about her. I don’t know Christina‘s [Christiina’s World-Wyeth] … well, anything. Heck, I don’t even know what she looks like. But, is the point really who Mona Lisa or Christina is that makes either of those remarkable works of art? Vessels for something bigger — Ann Lee gets it, and Mona Fastvold gets it. We are conditioned to watch with that biopic question of ‘so, when is the other shoe going to drop?’ for our main character or the need-to-see-someone-as-a-martyr moment[s], but it is clearly said in the film itself [paraphrased]: do not fight back. After all, isn’t that what ‘they’ want or expect?
“5 CATS OUT OF 5”
Michael says: “I really enjoyed Brett’s review and analysis of both the technical aspects of the film and the subject matter analysis. As a person who is always intrigued by films about religion and spirituality, I found the subject matter of THE TESTAMENT OF ANN LEE to be fascinating, and explored for the most part beautifully. I also loved the editing and choreography of the religious movement/dancing featured so prominently. Those sequences really drew the viewer into the action in what I felt were startling and visceral ways, I would also like to laud the cast for their performances. Amanda Seyfriend really gives her all to this performance, which could easily have been either too little or too much. I’ve grown to really appreciate Lewis Pullman’s screen presence. There is a gentleness about him even when he is not being particularly gentle. I always enjoy Thomasin McKenzie as well, and it was great to see her here as well. Finally, consistently strong, it was great to see Christopher Abbott, but I do worry that he is starting to get typecast in the roguish cad kind of rules, that he admittedly does very well, but he’s capable of so much more.
“All that said, this was not a 5 cat film for me, and I did find it to be overly long, and the first third dragged for me. I’m not generally a fan of period pieces, especially this particular time period (many of you know who I felt about HAMNET). I felt the non-ceremonial scenes in England to be rather laborious. Once they left the old world and began traveling to the new colony, I was thoroughly engaged and really enjoyed the bulk of the remainder of the film. I do greatly appreciate that Mona Fastvold to a big swing with this film, and for the most part, succeeded.
“So yes, ultimately, I enjoyed THE TESTATMENT OF ANN LEE quite a bit, and if it remains eligible for Chlotrudis consideration in 2025, it’s on my list of possible nominations. 3 1/2 cats”
Jessica replies: “Ann Lee was also 5 cats out of 5 for me. I haven’t been able to stop thinking about it since I saw it. I liked it much better than THE BRUTALIST. I cried like a baby several times.
“For whatever it’s worth, the choreographer for Ann Lee is the same choreographer as Chlotrudis favorites THE PLAGUE and AFTER YANG!”