Final Portrait

In the City of Light, 1964, renowned sculptor Alberto Giacometti (Alberto Giacometti) chances upon an old acquaintance, James Lord (James Lord), a perceptive American art critic. The esteemed artist requests that Lord assume the role of model for his latest portrait in his studio-turned-home, which he shares with his wife Annette and brother Diego. Initially, Lord agrees to sit for just two days, but Giacometti's artistic vision proves more elusive than expected, prompting him to extend the sittings by a week. Lord, torn between his obligation to complete his writing assignments and the once-in-a-lifetime opportunity to have his portrait rendered by Giacometti, hesitates before committing to an extended stay.

As the days turn into weeks, Giacometti's creative process is marked by fits and starts. He often becomes fixated on a particular aspect of Lord's portrait, only to abandon it entirely and start anew. This cyclical pattern of artistic experimentation leaves Lord perplexed, yet fascinated by the sculptor's unorthodox approach. Meanwhile, Giacometti's domestic life is fraught with tension. His relationship with Annette oscillates between genuine affection and a desire for freedom, sparking internal conflict within him. Despite his deep love for her, Giacometti requires the liberty to pursue his muse-turned-concubine, whose presence in their home creates an atmosphere of unease.

One fateful evening, Annette confronts Giacometti about the disparity between his generosity towards his models and courtesans versus his parsimony towards her. When he responds by flinging wads of cash at her, demanding a new coat in compensation for her perceived lack of attention, their argument devolves into chaos. The aftermath only serves to further strain their already complicated marriage, leaving Giacometti's artistic pursuits as the sole respite from the turmoil that surrounds him.

As the days blend together in a haze of creative stagnation, Giacometti's focus remains fixed on the portrait, its progress as glacial as the Parisian winter. His muse, a courtesan of unparalleled beauty and wit, has become his constant companion, inspiring him to new heights of artistic expression. To celebrate her arrival, he surprises her with a sleek convertible, and together they paint the town red, their night out on the town culminating in a dramatic return home. But amidst the revelry, Giacometti's studio lies in disarray, its contents scattered about like autumn leaves. His knowing gaze suggests that he is well aware of the identity behind this mischief, his subsequent words to Lord hinting at a need for him to tend to the matter the following day.

The morning brings an unexpected detour as Giacometti and Lord pay a visit to a seedy bar on the outskirts of town. There, they meet with a gruff manager, tasked with overseeing the affairs of Giacometti's favored courtesan. With a flourish, Giacometti settles the "fees" required for her services, securing her availability for the coming months and ensuring that his studio remains off-limits to future disruptions.

As the portrait nears completion, Lord finds himself growing increasingly anxious about the slow pace of progress. He attempts to enlist the help of Giacometti's brother, hoping to prod their artist friend back into action. However, his efforts are met with a firm refusal, the brother wisely choosing to steer clear of his sibling's prickly temperament. As Lord prepares to depart for his office abroad, he is left to ponder the surreal experience of witnessing firsthand the creative process of Giacometti's artistic genius at work.