Telling the same story from different perspectives is an interesting and effective way of exploring the various truths and fictions in each version of events, however unlike Ryūnosuke Akutagawa's classic _In a Grove_ (and its 1950 adaptation _Rashomon_), which casts doubts in the reader's mind as to which character's stories, if any, are reliable, _The Last Duel_ tells us in the title card of the third and final chapter that Lady Marguerite's account is **the truth**.

On the one hand, this is an understandable decision from the filmmakers, as not doing so would have allowed doubt to be cast on the truthfulness of her accusation, which would have likely caused mass criticism and outrage among some regardless of the actual quality of the storytelling (and to be fair, even In a Grove did not cast doubt on the rape aspect of its story despite being published almost 90 years prior to the Me Too movement).

On the other hand, however, this decision does beg the question of why structure the story this way in the first place, since arguably the whole point of showing differing perspectives is to give the audience a thought-provoking mystery as to who to believe (not that it would be much of a mystery even without the title card, as the brilliant acting of Comer and Driver made it pretty clear where the truth lay).

So while it would have been nice to see some faith from the filmmakers in their own storytelling and actors (and the intelligence of their audience), the awkwardness of this decision doesn't detract too much from the film for me to not recommend it.