In 1964, while on a short outing to Paris, the American essayist and craftsmanship darling James Lord (Armie Hammer) is asked by his companion, the incredibly famous craftsman Alberto Giacometti (Geoffrey Rush), to sit for a representation. The procedure, Giacometti guarantees Lord, will take just a couple of days. Complimented and captivated, Lord concurs. So starts the account of an odd companionship, as well as, seen through the eyes of Lord, a knowledge into the magnificence, dissatisfaction, significance and, now and again, out and out disorder of the masterful procedure. Last PORTRAIT is a representation of a virtuoso, and of a kinship between two men who are absolutely unique, yet progressively reinforced through a solitary, consistently advancing demonstration of imagination. It is a film which sparkles a light on the aesthetic procedure itself, by turns thrilling, angering and dumbfounding, addressing whether the endowment of an awesome craftsman is a gift or a revile.
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