There is a unique relationship between a model and an artist; unlike a click of a button with a camera, a painter takes time to create their art, if they’re fortunate enough to have a model with enough patience to sit and be scrutinised intensely with the artist’s eye.

During this period, the connection between artist and model can add to the creativity taking place on the canvas.

This then is an exploration of one such relationship, a real one, that blossomed between fashion model Kate Moss and figurative artist Lucien Freud in 2002.

Having modelled for fourteen years, Kate Moss (Ellie Bamber) had made the elite position of supermodel, and was in high demand in the fashion world.

She got offers all the time, to appear on the cover of this magazine and that, but she received one in particular that caught her interest – Lucien Freud (Derek Jacobi) had requested her to model for him.

She was intrigued by him, and decided to accept his offer, despite the fairly rigorous terms – with him not being a fan of lateness.

She devoted three days a week to sitting in his studio, and as she did so, a fascinating friendship blossomed, one that made quite the impression on the en vogue model.

This is the directorial debut for James Lucas, English-born and raised in New Zealand, but he‘s no stranger to filmmaking, having already won an Oscar for his short film, 2013’s The Phone Call.

He gets terrific performances from his cast: Bamber is mesmerising as the chain-smoking party animal Moss, fortunate enough to have an eccentric lifestyle; and Jacobi creates a fascinating Freud, seemingly placing his art above all else, including the relationships with his own children.

There’s a warmth that comes from their friendship, as the long periods of sitting are the perfect scenario for conversation. It feels like an odd couple, initially at least, with their relationship almost going further than just friends, with Freud becoming an almost father figure.

And it’s a journey that they both benefit from, with both their lives benefitting from it. And Lucas captures these journeys with a startling tenderness, fresh on his cinematic canvas.

He also had Moss on board as an executive producer, so you can’t ask for better backing for the project or your vision.

It’s a riveting snapshot, of sorts, of two very different worlds colliding that creates this real-life, long-lasting friendship that lasted beyond their many painting sessions.

A touching, heartfelt example of an intriguing friendship born of art.