Of course, MargueriteвЂ™s chapter provides the most conclusive account of the story, articulating a life lived only at the whims of men. ThatвЂ™s all the contact that was required for le Gris to fall in love and to feel he had received the OK from Marguerite to be intimate with her. Le Gris and Marguerite had shared a brief interaction following that first pivotal kiss, in which a lightly flirtatious dynamic grew from their intellect and appreciation for literature. So, when le Gris visited Marguerite at her home one day and professed his undying love for her, during a period when Carrouges was off waging wars, and CarrougesвЂ™ frigid mother (Harriet Walter) took their servants and left Marguerite in their castle by herself, her protesting was only part of the standard amount a woman does when you express plans to bed her, as le Gris relays to dвЂ™AlenГ§on. A reluctant kiss from Marguerite planted on his lips by order of Carrouges, as a sign of public contrition between the embattled men, held more than just the weight of penitence but of newfound desire. Through the eyes of Jacques le Gris, the man accused by Marguerite of rape, there was only ever mutually adulterous lust simmering between the two of them. Pierre dвЂ™AlenГ§on and his squire are infamous womanizers, engaging in orgies and gossiping about how much they hate Jean de Carrouges (which is often funny just by sheer virtue of Affleck and DamonвЂ™s real-life friendship). Carrouges is perceived as something of a dimwitted blowhard in the eyes of Jacques le Gris (Adam Driver), former friend to Carrouges on the battlefield and squire to Count Pierre dвЂ™AlenГ§on (Affleck). But as the narrative shifts over, we understand that this is not entirely true.

In this first chapter, we see the world as Carrouges sees it, and itвЂ™s a world where he is a respected fighter and dutiful husband who has been wronged by his former friend, and who expresses compassion and swift wrath against the man who committed the sin of rape against his young wife, Marguerite de Carrouges (Jodie Comer). The squelching of flesh, cracking of bones and clanging of metal is amplified by the filmвЂ™s impeccable sound design, battle sequences defined by the kineticism of Dariusz WolskiвЂ™s camerawork. Spears enter chests, viscera is sliced, blood sprays to near-comical effect. He charges into a brutal battle and valiantly hacks away at the enemy forces. Which is why, when we are introduced to the knight Jean de Carrouges (Damon), we come face-to-face with a grizzled, esteemed war hero. In some instances, diplomatic actions become violent ones, off-handed glances become indicative of deceit, relationships drastically change, words take on different meanings, and the world is suddenly observed as if we were seeing it for the very first time.

The Last Duel retreads the path already taken, but each occasion with a different guide. In a narrative device easily comparable to Rashomon, another film which details the conflicting accounts surrounding a rape, the script (co-penned by stars Matt Damon and Ben Affleck alongside Nicole Holofcener), sends us back to the beginning three times. His medieval epic based on the book of the same name by Eric Jager-concerning the last judicial duel of France-is conveyed across three chapters. To tell a story thatвЂ™s been told before, Ridley ScottвЂ™s new film does something a little familiar, and a little different.

How many chapters in uncharted 2