The document summarizes and analyzes film critic Roger Ebert's perspective on the 1950 Japanese film Rashomon. The film tells the story of a murder and rape through contradictory accounts from four different witnesses. Ebert believes reality and truth are subjective based on human interpretation, while filmmaker Errol Morris believes truth is absolute. The document argues Ebert's view aligns better with concepts like phenomenalism, selective perception, and independent testimony demonstrated in the film's multiple, conflicting stories. It concludes that in a situation like Rashomon without definitive evidence, Ebert's stance that multiple subjective truths can exist is most fitting.