The Last Duel: the structure of Ridley Scott’s film, which was inspired by actual events, smartly disguises who the real protagonist is, or, more to the point, the emotional core of the film is. The shifting perspectives and the subtly different versions of a handful of scenes are an interesting way to show how the characters see themselves and the world around them. And what a world it is, brutal and unforgiving, particularly (but not only) for women. The performances, weird accents here and there notwithstanding, are quite good: Matt Damon is appropriately brutish and hard as the man who insists he is the target of many wrongdoings; Adam Driver is also fine, but less layered, as the charming and smooth man of power. No matter, the film truly belongs to Jodie Comer, who turns the usual “medieval wife role” on its head. Cinematographer Dariusz Wolski beautifully and elegantly captures the action, including the high-stakes duel; the locations are quite attractive and well-decorated by production designer Arthur Max. Composer Harry Gregson-Williams provides the nice music.