The Last Duel propped high expectations as the Closing Film at the 2021 Venice Film Festival, but its theatrical release later that year proved to be a flop. Ridley Scott blamed it on millennials, but both critics and streaming audiences have been much more favorable than moviegoers. As a film, it’s a rather monumental project: quite a dark period piece set in Medieval France, dealing with harsh and offensive themes. Or better said, it deals with ethics and morality through these harsh and offensive themes. There are many ways where this could have gotten wrong—and it’s evident from the labels that have been circulating from the very beginning, that Scott has made his “MeToo” movie—but the truth is much more nuanced. From Eric Jager’s 2004 book to a script co-written by Ben Affleck, Matt Damon, and (most importantly) the astute Nicole Holofcener, The Last Duel is really the best of both worlds: action-packed and devoted to the right side of history.
"Even as it pretends to add complexity and context, it simplifies and focuses. It's not so much a history lesson as it is a savage, beautiful catharsis - a bonfire of the bros."
— Bilge Ebiri
"It all leads up to the title duel which, even by the high standards set by Scott's Gladiator, is what you'd call a humdinger."
— Glenn Kenny
King Charles VI declares that Knight Jean de Carrouges settle his dispute with his squire, Jacques Le Gris, by challenging him to a duel.
The story of one of the last judicial duels in 14th century France, where Norman knight Jean de Carrouges (Matt Damon) dueled squire Jacques Le Gris (Adam Driver) on the basis of him raping his wife, Marguerite de Carrouges (Jodie Comer).
Packing in Damon, Affleck, Driver, and Jodie Comer in one two-and-a-half hour film makes for the least humble casting decision, even if it is really just the four of them for the whole runtime. However, we've never seen them in such a constellation before and that's already something to appreciate. A star-studded cast, yes, but it's also one that's made up against types. We've never seen Adam Driver so harsh and ruthless, he channels the terror of gender violence to a blood-curdling degree; Affleck is uncharacteristically sidelining himself, all the while indulging in a sleazy, confident role. But the most exciting performance is of course Jodie Comer's. Not that she needs a breakout role at this point, but the psychological complexity vested in her silence and her accusatory look screams louder than any verbal accusation. Overall, a brilliantly acted film, which makes it all the more scary to see pain so well-performed on screen.
You'll want to smash Adam Driver's face in, which is definitely not the usual response he elicits.
Venice
1 nomination
Nat. Board of Review
1 win, 1 nomination
