initial symphony. From the very first notes of *The Testament of Ann Lee*, I was entranced. I engaged without any prior knowledge of its content, which revolves around an 18th-century religious figure of the Shakers, referred to as the “Shaking Quakers” for their expressive forms of worship. Nevertheless, the opening score and the striking choreography set in a shadowy forest captivated me, igniting a curiosity to delve deeper.

From this compelling inception, *The Testament of Ann Lee* surpasses historical narrative by weaving in the music and movements intrinsic to Shaker worship, crafting visual splendor that embodies their belief in a God who treasures such expressions of reverence.

Conceived by *The Brutalist* screenwriters Mona Fastvold and Brady Corbet, this is a vast American tale of love, faith, solidarity, and artistic expression that is both demanding and mesmerizing.

*The Testament of Ann Lee* reveals the birth of a spiritual community in America.

Under Fastvold’s direction, *The Testament of Ann Lee* delves into the existence of the eponymous religious leader through powerful portrayals of both trials and elation, enhanced by musical performances that exhibit Shaker heritage.

As a child in England, Ann is horrified by her tyrannical father, who silences his offspring and dominates his spouse. As a young adult, Ann (Seyfried) attempts to fulfill her role as a devoted wife to her rugged partner (Christopher Abbott), acquiescing to his desires despite her lack of interest. Yet, after experiencing several miscarriages, she concludes that chastity, diligence, and song are her genuine pathway to serving God.

This conviction attracts her loyal followers, including her brother William (*Thunderbolt*’s Lewis Pullman), the unwavering Mary (Thomasin McKenzie), and an American preacher (Tim Blake Nelson). Nevertheless, as she disseminates her teachings from England to New York, she confronts her husband’s fury and the aggressive rejection from those who remain unmoved by the Shakers’ hymns.

Amanda Seyfried shines in *The Testament of Ann Lee*.

Seyfried is accustomed to musicals, but this one stands apart from her earlier Broadway roles. Dismiss the cheerful exuberance of *Mamma Mia!* or the grand spectacle of *Les Misérables*. The choreography here resembles contemporary dance, while the songs resonate more as chants than as vibrant tunes.

Conservatively attired Shakers extend their limbs sharply, pausing as if awaiting a sign, then moving again. Their bodies ascend and descend in sync with a tempo birthed by their communal song. At the film’s commencement, they perform in harmony through a forest, moving as a singular, living organism. Through this choreography, Fastvold successfully conveys a community that exists, loves, and endures together.

This notion of solidarity in adversity is reinforced with each musical sequence. For instance, when Ann experiences miscarriages, a profound, aching melody propels her forward, weaving together scenes of intimacy, birth, and bereavement to forge a continuum of escalating sorrow. It’s not merely her grief; others envelop her across scenes, depicting a physical and emotional bond. Therefore, Seyfried is not only the film’s focal point but its essence.

As Ann remains unwavering in her conviction, Seyfried radiates confidence, whether establishing a community, crafting the sect’s signature chairs, or caring for her “children” — her disciples who refer to her as “Mother.” However, certainty does not equate to emotionlessness. Seyfried’s portrayal teems with joy, sorrow, and authenticity. Her eyes mirror this intensity, even in moments of violent crescendo. However, it is through song and dance that this role transcends the ordinary. In every motion and note, Seyfried leads the ensemble just as Ann leads her congregation, determined and luminous.

Mona Fastvold’s vision in *The Testament of Ann Lee* is exuberant.

Similar to *The Brutalist*, *The Testament of Ann Lee* traverses decades of an immigrant’s journey in an America that welcomes their labor but rejects their heritage and independence. Set against varied timelines, the films compose a timeless and dynamic diptych of this nation’s melting pot, sometimes nurturing, often ruthless. Outside of America, Fastvold’s film narrates the story of a woman who championed community and creativity without resorting to violence.

Choreographer Celia Rowlson-Hall designs movements that feel contemporary yet resonate with the aesthetics of the period. Her dances evoke fervor without sensuality, reflecting Lee’s doctrinal principles. Alone, a dancer may appear peculiar, clarifying the skepticism of surrounding New Yorkers. Yet together, they transform into something splendid, showcasing the marvels that our physical forms can conjure through labor and heartfelt embraces.

Composer Daniel Blumberg’s score, inspired by Shaker hymns, presents straightforward, repetitive lyrics that enfold us. The ambient music is eccentric and innovative, yet welcoming, inviting us into their narrative and their enthusiasm.

Narrated through movements and title cards quoting scriptures like “The Woman Clothed by the Sun With the Moon Under Her Feet,” *The Testament of Ann Lee* swells and swoons like an