When Lewis Pullman stepped onto the set of The Testament of Ann Lee, he wasn’t just taking on another period drama—he was stepping into the shoes of William Lee, brother to the enigmatic Shaker leader Ann Lee, and into a family legacy that stretches from Hollywood to the heart of American religious history. Released on December 25, 2025, and directed by Mona Fastvold, the film has quickly sparked conversations about faith, artistry, and the ties that bind generations, both on screen and off.
At its core, The Testament of Ann Lee is a meticulously crafted historical drama that dives into the world of the 18th-century Shakers, a religious sect known for their ecstatic worship and radical beliefs. Amanda Seyfried stars as Ann Lee, a figure revered by her followers as the female Christ, while Thomasin McKenzie and Lewis Pullman round out the trio as Mary and William Lee. The film’s 130-minute runtime is filled with original Shaker hymn-inspired songs by composer Daniel Blumberg and striking choreography from Celia Rowlson-Hall, all designed to bring the intensity and beauty of Shaker worship to life.
But as Collider’s Steve Weintraub learned in a recent interview with Pullman and McKenzie, the film’s visual style owes a debt to the past—specifically, to Stanley Kubrick’s Barry Lyndon. “It was, I think, Tanera [Marshall], our accent coach, who suggested it for the accent, and like you were saying, for the visuals, as well,” McKenzie explained. “And yeah, Barry Lyndon was one that I think Mona [Fastvold] suggested.” Pullman added, “When you're on set, there are certain references that start to become kind of a common language… That was definitely one of them.”
The influence is palpable, especially in the film’s candle-lit scenes, which evoke Kubrick’s obsession with natural lighting. McKenzie, reflecting on her preparation, shared, “I’m a visual learner, so being able to see what they mean is really helpful.” The result is a film that feels both grounded in historical authenticity and alive with cinematic artistry—a rare feat in today’s movie landscape.
Yet, for all the film’s visual beauty, it was the dance sequences that truly tested the cast. “Definitely, for me, the dance sequence we filmed on the boat, which goes through multiple seasons. I was the most excited for that because there was a specific dance move we had in that… it was very satisfying. I encourage people to learn it, and maybe it'll become a TikTok dance,” McKenzie said with a laugh. Pullman agreed, “That was like the anchor of the scene, so we had to lock.” The challenges were real: rain, snow (actually soap foam), and the need for perfect synchrony. “A lot of the time in that we were looking up, and you could barely keep your eyes open because you were being waterboarded,” McKenzie recalled. Pullman chimed in, “Or the snow is actually soap, and you're getting foam in your eyes.”
Despite these hurdles, the cast found the experience rewarding. “I think the reason why it felt so good is because it involved a lot of breathwork, so with each movement, you were either exhaling or inhaling, and it felt like there was either lightness or gravity that you were playing with, and I like that,” McKenzie said. Pullman summed it up: “Well put.”
For Lewis Pullman, the film is more than just another credit—it’s a chance to stretch as an actor and to make his own mark. His father, the veteran actor Bill Pullman, couldn’t be prouder. “I’m really amazed that he’s having very diverse choices about what movies he’s involved in,” Bill, 72, told Us Weekly at the film’s December premiere. “And that he was very excited to be part of this one, which is an adventurous movie.” Bill, who played Lone Starr in the original Spaceballs and has starred in classics like Casper and Independence Day, added, “He remembers things better than I do… He has got a strong rudder in the water himself that I think is really good.”
Lewis’s journey into acting began back in 2013 with short films, but he’s since carved out a distinctive path with roles in Battle of the Sexes (2017), Bad Times at the El Royale (2018), and a breakout turn as Bob in Top Gun: Maverick (2022). More recently, he’s appeared in Lessons in Chemistry, Outer Range, and even joined the Marvel universe in 2025’s Thunderbolts. “I watch him with great joy, because I see him [doing his thing],” Bill Pullman shared, clearly moved by his son’s achievements.
The family connection doesn’t stop with The Testament of Ann Lee. The Pullmans recently spent three months filming Spaceballs 2 in Australia, with Lewis playing Bill’s on-screen son. “We just got done [with] three months in Australia, shooting a movie, Spaceballs, the sequel and he plays my son in it,” Bill teased. The project is especially meaningful for the elder Pullman, who reminisced about the original’s 1987 premiere coinciding with his wedding month—a fact he jokes helps him remember his anniversary every year. “That may be the secret [to our relationship],” he quipped. “So I remember all the anniversaries. That may be the secret [to our relationship].”
As for Spaceballs 2, both Pullmans are tight-lipped about plot details, but Lewis did offer Collider a tantalizing hint: “When I read the script, it's just wildly well-designed. It's just some brilliant writing that went into it. It has so much of Mel's DNA in it, and then Josh Greenbaum is the dream director. He has such a close relationship with Mel, and he has such a good sense for that kind of humor. It was a really incredibly great experience.” The sequel, set for a 2027 release, will see Bill and Rick Moranis reprising their iconic roles, with newcomer Keke Palmer joining the cast.
For Bill Pullman, watching his son step into the limelight—and even onto the same sets he once graced—has been nothing short of surreal. “I did Spaceballs [as] my second movie. I was 32,” he reflected. “[Lewis] is 32 now. So it’s like watching myself.” It’s a rare full-circle moment in an industry that seldom allows for such poetic symmetry.
With The Testament of Ann Lee now playing in select theaters and anticipation building for Spaceballs 2, the Pullmans are proving that talent, passion, and a bit of family magic can span both centuries and genres. For audiences, it’s a chance to witness history—both cinematic and familial—in the making.
