Emotional Reception in Venice
Amanda Seyfried was visibly moved at the premiere of her latest film, “The Testament of Ann Lee,” directed by Mona Fastvold. The screening garnered an impressive 15-minute ovation, making it the longest applause of this year’s festival, surpassing that of “Frankenstein.”
Co-writer Brady Corbet engaged the audience while a jubilant Seyfried raised her fists in celebration as the cheers continued into the seventh minute. Fastvold, who previously co-wrote last year’s Silver Lion winner “The Brutalist” and is a three-time Oscar recipient, smiled widely at the enthusiastic response. As the applause reached the eighth minute, Seyfried murmured, “What are we supposed to be doing now?”
Though many in the orchestra section began to disperse after 10 minutes, audience members in the balcony—including cast, crew, and potential buyers—maintained their applause. Corbet and Fastvold departed before the clapping concluded.
As she exited the theatre, Seyfried remarked to Variety, “I think people quite liked it.”
About the Film
Seyfried portrays Ann Lee, with Lewis Pullman starring as her brother William. The cast also features Thomasin McKenzie, Stacy Martin, Tim Blake Nelson, Christopher Abbott, and Matthew Beard. Described as an “epic fable,” “The Testament of Ann Lee” offers a speculative retelling of Lee’s life as one of the few female religious leaders of the 18th century, focusing on the establishment of the Shaker movement. The Shakers, who immigrated from England to New York, were known for their ecstatic worship, celibacy, and communal living. Due to their lifestyle, the movement has significantly declined, leaving only three current members.
Musical Elements
While the film is not categorized as a musical, Seyfried does perform vocalizations, incorporating music from Daniel Blumberg, the Oscar-winning composer of “The Brutalist.” Commenting on her singing in the film, Seyfried stated, “Some of it was un-singing. There’s no such thing! De-singing? Anti-singing? A lot of it was animal sounds as opposed to melodic sounds. And it was less about listening to myself.”
