Ridley Scott’s The Last Duel is an epic of court intrigue and feminist politics, depicted with gusto from the first moment until the last. Set in France in the late 14th century, the story is that of two friends who become rivals. The conflict stems from the woman who is married to one of the two and accuses the other of an opportunistic and brutal rape, whose pain and resolve becomes the focal point of this seething and culturally relevant film.
From a script written by Matt Damon and Ben Affleck (who appear in lead and supporting roles), as well as Nicole Holofcener, Scott is at the apex of his skill as a filmmaker. This film is more well rounded and balanced than much of his post-2000’s work. Without silly, somewhat counterproductive elements of science fiction and weighty religious commentary, the director is able to focus on the human drama and bureaucratic structure at the heart of the narrative. This allows Scott to craft something with perceptive insight and meaning; a film which offers both a realistic recreation of medieval politics and brutality, as well as speaking to the current reckoning of sexual assault and systemic corruption within every professional industry the world over.
The performances, for the most part, are all impeccable. Although Damon’s wooden star power lets the film down, the other leads and especially the ensemble cast deliver in ways that ensure audiences will leave The Last Duel with solid understandings of character and the weight of each within the story. Jodie Comer and Ben Affleck each standout and will undoubtedly be up for awards consideration. Harriet Walter, Marton Csokas and especially Adam Nagaitis all perform with brilliant intensity, though none of them manage to become caricatures at the edge of the narrative, as some have done in previous efforts from the director.
The greatest strength of the film is the three chapter structure in which the action plays out. Made up of Damon, Comer and Adam Driver’s perspectives, the whole thing feels like the audience is following the evidence in a court case, or the reporting thereof. This choice within the script suits the material down to the ground, though the time jumping at the beginning is briefly disorienting. Different versions of events reveal not only the plot, but also the bias and prejudices of each perspective and the likelihood of veracity from each. Comer towers over the film as a woman whose position in this time and place is obviously weaker than her male counterparts, only making the strength inherent to her characterisation more striking and impressive. Driver also does well in his role as what is essentially the antagonist, hot off his streak in the same role in the recent Star Wars films.
With enough battle gore and irony in some unintentionally comic moments, Ridley Scott’s latest is a feast for fans of action and drama alike. The Last Duel demonstrates the benefit of his over five decades behind the lens and will provoke controversy and serious discussion of issues inherent to the injustices of both medieval society and our own.
4/5
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