Written by Andreas Babiolakis

Warning: Discussions of sexual assault, in relation to The Last Duel, will take place in this review. Reader discretion is advised.

I’ll give The Last Duel this: it’s one of Ridley Scott’s more thoughtful films in recent memory. This collaboration by Matt Damon, Ben Affleck, and Nicole Holofcener (the latter who provided a female voice to this incredibly disturbing tale of misogyny within societies of old and new, as well as the mistreatments of rape) stands out as the strongest element of the film not in front of the camera (that’s to say that the performances are incredibly strong, the sets and costumes are breathtaking, and the haircuts are atrociously memorable and I like them, so sue me); if anything, Scott allows the writing to shine whilst he takes care of the visual aspects of The Last Duel. Unfortunately, that does mean that the screenplay and its occasional wobbles are blatantly apparent, with some of the story’s fixation on the multiple perspectives — ala Rashomon — translating maybe not quite as well as intended here. An example is the climactic titular duel, which is, unfortunately, some of Scott’s finest directing in years, because it feels almost contradictory to the film’s purpose: legitimizing the voice of the voiceless. When the battle is this intense and this prolonged, no matter how well the scene was made, The Last Duel no longer feels like it is about discussing the toxic hate women experience during conversations concerning rape. While the absolute ending features an uproar of women supporting the outcome, it still doesn’t feel quite enough when the film relies on the duel itself more than anything.

Before that conflicting conclusion — which is quite an achievement cinematically and yet it has so many mixed messages — is a triptych of perspectives surrounding the accusation that led to the last trial decided by a duel in the history of the nation of France. Actually, we start off with a prelude to the fight itself, and you may imagine that it won’t last very long given the glimpse (oh, quite the contrary; you’re in for an epic battle sequence), and then get into what took place before it. In three starkly different chapters surrounding the same events, we get a depiction of the complexities of one’s word in such a situation, and it’s the kind of conversation that needs to be had in a post #MeToo era (especially for some of the bigots I still see on social media who showcase their sexism openly). The incident itself is painted in different ways depending on who is telling the story, and so we end with survivor Marguerite de Carrogues last (of whom has the obviously most harrowing version of the story). Considering that I don’t think most people will be believing Jacques Le Gris’ side of the story here (that he was innocent and Marguerite consented), I do think The Last Duel maybe devotes too much time in total to each part of the story. A multi-perspective tale only lends so much space to world building when your film’s gimmick is based almost entirely on the characters and their voices. A tighter story may have brought more light to the intention of showing just how little women are regarded, either during these kinds of trials or by society in general. Two and a half hours could have easily been two.

Although weaker in some areas, *The Last Duel* is still a strong film in ways.

Nonetheless, this is still one of Ridley Scott’s stronger efforts in years, and it’s thanks to every other technical element holding up The Last Duel when its motive gets sidetracked and its tone gets confused. It’s times like these where Scott does shine: aesthetic cohesiveness, especially without going overboard. The Last Duel has an identity — at least visually and audibly — and it maintains this tone throughout. Everything artistically here is lavish and stunning (even those bonkers hairdos in their own ways), so at least the film rises to the occasion as a medieval epic with all of its boxes ticked. It’s a shame a film with so much social potential kind of doesn’t know how to entirely stick its landing, because it certainly could have set a precedent for similar cinematic discussions from here on out. At least it is an effort, and The Last Duel is fairly well made otherwise.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.