The Oscars completely snubbed the year’s most daring film – and it doesn’t make sense

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This year, one omission really stood out: the film The Testament of Ann Lee, directed by Mona Fastvold, wasn’t recognized.

Ann Lee wasn’t just overlooked for a nomination – her work wasn’t mentioned in any category at all this year.

It’s unbelievable. Daniel Blumburg’s incredible and captivating music – I’m actually listening to it now while I write – was completely overlooked. The song “Woman Clothed by the Sun,” arguably one of the most beautiful original songs this year (I truly believe it’s better than any of the nominated songs), received no recognition. And despite the strong writing and direction from Fastvold, and hopes for an acting nomination for Ann Lee, she didn’t receive any awards either.

The biggest surprise of the Oscar nominations was likely Amanda Seyfried being left out for Best Actress. Just a month ago, many people, including myself, thought she was a sure thing to be nominated for her deeply emotional performance as Mother Ann Lee. While this year’s Best Actress category is very competitive, her nominations from the Critics’ Choice and Golden Globe awards led me to believe she’d at least receive a nomination.

Let’s be clear: The Testament of Ann Lee wasn’t a hidden, obscure film only known to serious movie buffs – and even if it had been, that wouldn’t excuse it being overlooked. The film actually had a strong cast, including Seyfried alongside Lewis Pullman and Thomasin McKenzie, a well-regarded director, and what was arguably Seyfried’s best performance yet – and that’s saying something, considering she’d already been nominated for an Oscar.

As a huge movie fan, I was really excited to see all the buzz around The Brutalist last year – it racked up an incredible 10 Oscar nominations, including Best Picture! Mona Fastvold was a key creative force behind it, and while Brady Colbert directed, it’s impossible to ignore Mona’s impact. It’s just a shame the Oscars haven’t always been the best at recognizing talented female directors – hopefully that’s changing!

It’s particularly shocking that Ann Lee’s film was completely overlooked, considering how much it accomplishes with limited resources. The film’s visuals, music, acting, and overall structure combine in a remarkably original way, creating a truly unique and impressive cinematic experience. It’s a real disappointment that the Academy hasn’t given it any acknowledgment whatsoever.

The Oscars haven’t always been great at celebrating truly original films. They often favor movies that stick to familiar formulas, styles, and themes, and tend to overlook films that could actually change the landscape of cinema.

Ann Lee, a film about a religious figure, isn’t afraid to try new things, and that’s refreshing. Thankfully, every bold choice the filmmakers make works beautifully. In a movie world filled with endless remakes and sequels, this originality is especially welcome.

What truly sets this film apart is its incredible scope and originality. “Ann Lee” is unlike anything I’ve ever experienced.

The first time I saw this, I immediately wanted to rewatch it, and the second time brought me to tears. Even now, it’s hard to explain exactly why it’s so powerful. It’s just incredibly raw, unusual, and beautifully made, and it really resonates with you. While it might not be as immediately easy to connect with as films like Hamnet or Frankenstein, that shouldn’t diminish its quality.

I don’t expect Ann Lee to win every award, and honestly, that was never likely. A movie focused on female spirituality, leadership, and music always faced an uphill battle, considering what the Academy usually favors. However, the complete lack of recognition for this film is truly surprising and disappointing.

Look, as a critic, I’m really hoping the Academy gives this film the serious consideration it deserves. It’s a genuine contender, and I’m eager to see if it gets the recognition I believe it’s earned. To put it simply, I’m really rooting for it!

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The Testament of Ann Lee will be released in UK cinemas on 20th February.

Authors

Chezelle BinghamSub-Editor

Chezelle Bingham is a Sub-Editor at TopMob. Before this, she was a Writer for Disney, creating content for six magazines aimed at preschool and primary school children. She also has a Bachelor’s degree in English Literature and Language.

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2026-01-22 21:11