
In 1964, while on a short trip to Paris, the American writer and art-lover James Lord (Armie Hammer) is asked by his friend, the world-renowned artist Alberto Giacometti (Geoffrey Rush), to sit for a portrait. The process, Giacometti assures Lord, will take only a few days. Flattered and intrigued, Lord agrees. So begins not only the story of an offbeat friendship, but, seen through the eyes of Lord, an insight into the beauty, frustration, profundity and, at times, downright... (Full plot summary below)
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In 1964, while on a short trip to Paris, the American writer and art-lover James Lord (Armie Hammer) is asked by his friend, the world-renowned artist Alberto Giacometti (Geoffrey Rush), to sit for a portrait. The process, Giacometti assures Lord, will take only a few days. Flattered and intrigued, Lord agrees. So begins not only the story of an offbeat friendship, but, seen through the eyes of Lord, an insight into the beauty, frustration, profundity and, at times, downright chaos of the artistic process. FINAL PORTRAIT is a portrait of a genius, and of a friendship between two men who are utterly different, yet increasingly bonded through a single, ever-evolving act of creativity. It is a film which shines a light on the artistic process itself, by turns exhilarating, exasperating and bewildering, questioning whether the gift of a great artist is a blessing or a curse.
Leave your thoughts about Final Portrait.
| CinemalogueTodd JorgensonTucci's screenplay lacks depth yet captures some intimate surface details about his subject, while Rush's performance brings sympathy to a mercurial figure who's otherwise off-putting. |
| Bowling Green Daily NewsMicheal ComptonUnder the watchful eye of director Stanley Tucci, Final Portrait is filled with an undercurrent of humor throughout -- crisply paced, allowing its two lead actors the chance to really sink into their respective roles. |
| La JornadaLeonardo Garcia TsaoOne of those films that will not be released on the billboard of its country, because its potential audience is non-existent. It's designed for some cable channel like HBO, because it's basically like a prestigious telefilm. [Full review in Spanish] |
| The Age (Australia)Sandra HallEverything about the film's tone is pitch perfect, from its monochromatic palette, touched up with dabs of colour, to its lilting score. |
| Reeling ReviewsRobin Cliffordit is the actors and the words they speak that is the real pleasure in watching "Final Portrait," a true collaborative effort by all. |
| One Guy's OpinionFrank SwietekA slight but engaging vignette about the peculiarities of the artistic temperament, 'Final Portrait'...doesn't do much, but the little it does, it does pleasantly enough. |
| Original CinLiam LaceyTucci seems content to focus on the conventional, the artist's self-doubt and obsession, without addressing what Giacometti saw in Lord or what he was searching for. Why is this portrait, which sold for more than $20-million, artistically significant? |
| Austin American-StatesmanCharles EalyIt's a delicate minuet. And Tucci, who gets fine performances from Rush and Hammer, manages to pull it off. |
| Christian Science MonitorPeter RainerThe film's inexplicably grayish palette doesn't do the artist or the artwork any favors, and the action, which mostly takes place in Giacometti's plaster sculpture-strewn studio, is stagey. |
| NewcityRay PrideTucci transforms an artist's world into a flurry of process... In the movies that Tucci has managed to get made as a writer-director, each finds process central... It's a sweet signature, as transfixing as the features of his fellow actors. |