Final Portrait is actor Stanley Tucci’s fourth film as writer-director and shares with Big Night, his 1996 gastro-drama debut, an interest in artisans and their obsessions; though in comparison, it’s an amuse-bouche. Swiss artist Alberto Giacometti, living in 60s Paris, explains the changes in portraiture philosophy to James Lord, a young American fan and writer who is sitting for one of his own. Portraits used to be finished articles, a frizzle-topped Geoffrey Rush explains, because the subject needed a likeness and a double; the advent of photography has erased that. His portraits are, he admits, essentially unfinished; laboured and inspired…