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Much of “Final Portrait” takes place in Giacometti’s studio, a crumbling garret with high ceilings located down a brick-walk alleyway in Paris.

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He has made an entire drama about the couple of weeks in 1964 when Alberto Giacometti (Geoffrey Rush), the fabled Swiss sculptor and painter (then 63 years old), decided to create a portrait of his friend, the American author and art critic James Lord (Armie Hammer).

Watching “Final Portrait,” you get only random bits and pieces of Giacometti’s “life story,” but in another way the film bites off a whole chunk of his life and presents it to you just as it might have happened.

But the sorority didn’t just offer me dining companions.

I now had a group of girls I could hit the bars with. (Well, maybe not 100 percent.) Some nights we would head out to Boylston Street and none of us would wake up in our own beds.