Every so often a film comes along that leaves you speechless. It leaves you flummoxed and searching for words. These movies can be a journey of the most befuddling variety. Are they brilliant? Are they terrible? Are we audience members just too dumb to figure out what they’re trying to say? Kids, this is where I came to The Testament of Ann Lee. Read on.

The Testament of Ann Lee tells the story of (you guessed it!) Ann Lee (Amanda Seyfried), the woman held as one of the founders of the Shaker Movement as she brings her followers from England to the “Colonies” during the American Revolution. Lewis Pullman, Thomasin McKenzie, Matthew Beard, Christopher Abbott and Tim Blake Nelson co-star in the movie. Mona Fastvold directs The Testament of Ann Lee from a script she wrote with Brady Corbet.

Friends, this is a musical (be warned!) set during the middle of the 18th century with religious biopic roots. I’m not sure I can say The Testament of Ann Lee is for the casual movie viewer. An easy, breezy popcorn film, this is not.

At this point, I feel obligated to mention that neither this history, nor the religious elements in this narrative are my forte. Do with that what you will. However, I can also not rule out that some of my befuddlement didn’t stem from my uncertainty with this material.

The Testament of Ann Lee has to stand as one of the most tonally complex films I’ve seen in a long, long… long time. When looking at its synopsis and its religious biopic roots, this is classic awards season fair. This is a stately period drama in every sense of the word. Visually, this film reminded me of something like Girl with a Pearl Earring. Every frame feels like an “Old Masters” painting.

At the same time though, it’s still a musical and interestingly, it doesn’t just feel like any musical. This is a jarring, rhythmic, chaotic examination of movement.

Don’t get me wrong, there are some beautiful moments of simplicity here when the film allows itself to bask in the personal moments. Those who enjoyed something like The Ballad of Wallis Island might find some joy in The Testament of Ann Lee‘s traditional and acoustic musicality.

Just as quickly though, the film explodes into a pulsating and gyrating rhythm. This, of course, makes stylistic sense with the on-screen depictions of certain Shaker religious ceremonies. This also extends, however, to the musical styling. In these big moments, the film steps away from 18th century traditionalism and morphs into a Phil Spector like “Wall of Sound”.

This results, I believe, in a majority of the music numbers not being structured to move the story forward. These aren’t narrative songs. Instead, they are about not only energy, but experience and our characters’ internal mental state. This is how we explore who these people are.

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The whole film, really, felt like an experiment. It had, what I like to call a “let’s put on a show” mentality. It felt audacious, stagey and more than a little experimental, shot with the kind of gumption you’d expect in a student film.

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Meanwhile, Fastvold puts together a gutsy and likable cast, unafraid to give their all to this daunting premise. They’re fully committed to the vision.

Amanda Seyfried grounds things beautifully in the lead role. She brings a performance brimming with earnestness. As a result, it’s hard to not like Ann. There’s no cynicism here. They aren’t “charlatans”. The film doesn’t seemingly see them as “crazy”. There’s a wide-eyed passion in Seyfried’s performance. Thinking about it, she brings the reality to life that Lee and her crew were really just kids. They weren’t trying to do anything other than follow their hearts.

Seyfried isn’t shouldering the movie on her own though. The Testament of Ann Lee brings a powerhouse supporting cast, featuring some of the most unassuming up-and-coming talent we have in the industry.

Christopher Abbott quietly steals scenes in a way only he can as Ann’s struggling husband Abraham. While he might not always have a lot to say, his character brings an uneasy physical presence to the film that’s fascinating to watch. I’m a relative newcomer to Abbott’s work, but after this yearI can’t wait to see where he goes.

Meanwhile, you all know I’m open with my bias’ and I wouldn’t be doing my job if I didn’t call out Lewis Pullman. I would watch Lewis Pullman read the phonebook. The young actor has been quietly coming up in the industry over the last few years and whether he’s in a superhero film like Thunderbolts*, a big budget popcorn film like Top Gun: Maverick or even quieter works like Lessons in Chemistry, his quiet power radiates off the screen in a series of increasingly interesting roles.

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As Ann’s brother William, Pullman shines in the stillness of his character. He’s quiet and unassuming, perfectly comfortable to let Ann shine. At the same time, however, he brings a beautiful presence. There’s a strength in his silence that’s beautiful to watch. Kids, give Lewis Pullman all the roles.

When all is said and done, The Testament of Ann Lee is a mighty big swing. This is a musical, period, religious bio-pic. If you’re looking for something accessible, this isn’t it. However, there was something special here. I’m not sure if I even now truly understand this movie, but I’m still thinking about it. That is what matters, a work that sits with you.

The Testament of Ann Lee is currently on a lengthy film festival roll out before opening in theaters around the country on Christmas Day.