Mona Fastvold’s film about Ann Lee – the founder of the Shaker religious movement – is raw, intense and deeply physical. If you were to consult the leading critics of Christianity in film they would probably tell you that the best films in this genre are not like The Testament of Ann Lee at all.
These thinkers save their highest praise for films that are aesthetically minimal and grounded in reality, often using documentary filming techniques.
Tonally, these films are quiet and stripped back. They present a vision of faith that leans into quiet devotion and sufferance rather than the wild abandon of religious ecstasy. Think, for example, of Carl Theodor Dreyer’s Ordet (1955), Ingmar Bergman’s Winter Light (1963), Robert Bresson’s Au Hasard, Balthasar(1966) or, in more recent years, Paul Schrader’s First Reformed (2017).
