The Last Duel is a well-constructed treatise on the challenges of womanhood in a world designed by and for men -- with an impressive cast and strong script serving the story and grounding the lessons within the modern world.
Directed by Ridley Scott, The Last Duel takes place within 14th century France. Told from three perspectives -- the haughty French knight Jean (Matt Damon), the personable Jacques (Adam Driver), and Jean's underappreciated wife Marguerite (Jodie Comer) -- the film is constantly building to the titular last duel. That inevitable face-off is introduced at the beginning of the film and is ultimately the final sequence of the narrative. All three stories delve into the flawed friendship of Jean and Jacques, the sexual assault of Marguerite, and the quiet hell that Marguerite's life becomes when she reveals the truth to her husband.
The cast is universally skilled, with each of the three lead performers delivering consistent and unique moments -- especially once the film turns its attention to Marguerite and reveals the harsh realities of Jean and Jacques that Damon and Driver's earlier performances purposefully glossed over. Comer is the MVP of the stacked production, transitioning from saintly to sultry to sadly realistic without ever losing the throughline of her character. Damon and Driver are both fantastic, especially in the moments that shed back the facetious layers of charm and nobility to reveal the condemnable men they are.
Ben Affleck is also on point as the nobleman Count Pierre d'Alençon, having a clear blast as an openly acknowledged but entertaining scumbag. The Last Duel melds grandiose scope and tight shots. Consistently well-shot, the film benefits from Scott's experienced eye for combat and drama alike. Minor moments in one perspective become layered in another's view, laying the groundwork for a story that's able to approach difficult subjects with a stark eye. The film's few fight scenes are all remarkable in their kinetic energy and sheer brutality.
The Last Duel benefits from a tight screenplay, written by Affleck, Damon, and Nicole Holofcener (Can You Ever Forgive Me?). The three-perspective conceit -- broken into three chapters similar to the endlessly influential Rashoman -- benefits the narrative and gives the film appropriate weight. The film takes a historic event and uses it to analyze the way the world still seems designed to break women's spirits and bodies in the modern-day. It quietly tackles elements of the MeToo era, in particular during a sequence where Pierre and Jacques discuss Marguerite's acquisition. Driver delivers an entirely silent beat where the bravado fades away just long enough for it to showcase denial.
The Last Duel doesn't shy away from the casual cruelty of the characters and their craven aspects. It imbues the medieval story with a modern edge that makes it all the more powerful. It's a film that confronts a heavy series of topics and executes it well. It's an important message, delivered with blunt honesty and impressive filmmaking overall.
Directed by Ridley Scott and starring Matt Damon, Jodie Comer, Adam Driver, and Ben Affleck, The Last Duel is set to arrive in theaters on Oct. 15.