Stacy Martin Embraces the Unexplainable in Life and Art
Stacy Martin, the acclaimed indie actor, is not one to shy away from the mysterious or the unconventional. In a recent interview, she revealed a personal anecdote that underscores her openness to the unexplainable. While at her home in north London, she encountered a persistently flickering lightbulb that defied all logical fixes. Instead of turning to conventional solutions, Martin consulted her psychic, a tea leaf reader she visits annually under a pseudonym. The psychic suggested someone was trying to communicate with her. "I was like: 'What if I just start talking to this person that apparently wants to talk to me?'" Martin recalls. "And so I did. And that light never flickered again." She prefers not to label it as a ghost, but acknowledges that there are phenomena beyond rational understanding.
A Divine Vessel in The Testament of Ann Lee
This fascination with the mystical translates seamlessly into her latest role in The Testament of Ann Lee, a wild movie musical directed by Mona Fastvold. The film delves into the life of Ann Lee, the 18th-century founder of the Shakers, played by Amanda Seyfried, who renounced marital relations to devote herself to God. Martin portrays Jane "Mother Jane" Wardley, the leader of the Shaking Quakers, who guided Ann Lee on her spiritual journey. "She showed Ann Lee who she could become," Martin explains. The film, co-written by Fastvold's partner Brady Corbet and featuring an experimental score by Oscar-winner Daniel Blumberg, offers a hypnotic and ecstatic portrayal of devotion through song and dance.
Martin describes the choreography by Celia Rowlson-Hall as having a "tender violence" that mesmerized her. Learning the dance sequences over a two-week rehearsal felt like "summer camp", though she admits she has never actually attended one. The Shakers, known today for their minimalist furniture, were a celibate Protestant sect, with only three remaining members alive. Martin found the contradiction between their chaste marriages and passionate spiritual expressions intriguing. "For the movement to be so visceral, and about catharsis, and worshipping ... I was just quite surprised that she decided not to have sex with her husband," she says with a chuckle. She sees abstinence as a form of power for women in that era, a way to gain status in a society that often marginalized them.
Building a Creative Troupe
Martin's collaboration with Fastvold and Corbet spans multiple projects, forming what she calls a "troupe" in the French sense. This close-knit group includes recurring collaborators like Blumberg, her ex-partner of 14 years, and actor Christopher Abbott. "They're both committed to writing a story that is bigger than them, that also feels very close to their heart," Martin notes. She believes Fastvold explores themes of motherhood in the film, not just in biological terms but as creating spaces for artists to thrive. Fastvold has been a maternal figure to Martin over the past decade, offering support and understanding. "She understands that sometimes there isn't a solution, we just need a rant. That is an incredible friend to have," Martin reflects.
From Arthouse to Awards Season
Since her breakout role in Lars von Trier's Nymphomaniac in 2013, Martin has deliberately pursued a career in independent cinema, working with directors like Michel Hazanavicius and Ben Wheatley. Her commitment paid off with The Brutalist, which won three Oscars and was a critical darling last awards season. Attending the Oscars with Fastvold and Corbet was a surreal experience. "They give you alcohol under your seat – I think it was tequila," she says dryly. "It's useful to keep people's spirits up, because it is quite long." She viewed the ceremony as a strange but entertaining spectacle, making the most of what might be a one-time opportunity.
Off-screen, Martin is a dedicated cinephile, frequenting east London's Close-Up cinema and collecting DVDs from specialty shops like The Film Shop in Stoke Newington. When that shop closed, she was so heartbroken that she bought half its inventory. "I was like: 'What are you gonna do with all these films?!'" she recalls. Her passion for film extends behind the camera; she recently wrote and directed her first short film, gaining a new appreciation for the filmmaking process. "It was like an on-set experience on steroids," she says.
Looking Ahead: New Roles and Big Dreams
Martin is eager to avoid repetition in her career. "I don't want to do the same thing over and over again," she asserts. Recently, she shot a studio adaptation of Sense and Sensibility, playing the villainous Fanny Dashwood. While she hasn't actively avoided Hollywood blockbusters, they haven't come her way—until now. At 35, she is setting her sights on mainstream projects, with a particular dream in mind. "I'm trying to manifest being in the next Jurassic Park," she confesses. The original film was the first she ever saw in cinemas, and it left a lasting impression. "If I say enough, it's just bound to happen," she adds with determination.
In her personal life, Martin is exploring new intellectual horizons, delving into quantum physics after being inspired by friends. "Some of my dear friends love it and I have no idea what the hell they're talking about, so I'm trying to wrap my head around it," she says. This curiosity mirrors her approach to acting—always seeking to understand the unexplainable and push boundaries.
The Testament of Ann Lee is set for release in UK cinemas on 27 February, offering audiences a chance to witness Martin's captivating performance in this strikingly unique film.
