Soon to hit limited audiences throughout the US is the latest visionary accomplishment from the man who is, in my mind, the strongest and most appropriate contender for this year’s Best Director at the Oscars. However, despite a radical and abundant fan following regarding his filmography, which has sparked controversy and split audiences, Darren Aronofsky’s newest film might prove to be his most extreme yet, which may or may not appeal to those who vote.
Black Swan is a psychologically pulverizing reconstruction of the famed and revered Russian ballet Swan Lake. Aronofsky applies his vision to a singular narrative concerning a group of young dancers surrounding the production of Swan Lake which serves as the core that feeds the film’s pulsating reveal. Black Swan explores this concept from the perspective of Nina (Natalie Portman), a talented young woman trying desperately to achieve perfection in her art. The film takes itself quite seriously in a psychological sense and from the very first scene we are exposed to her perverse attitude towards this production as a means to excellence and success. Competition gets heated when a gifted rival, Lily (Milla Kunis), begins to outperform Nina.
The production of Swan Lake requires one ballerina to perform two very distinct roles: the innocent and charming Whit Swan and the sensual and bewitching Black Swan. The approach to each performance must be unique and confident. Nina’s grace and discipline wins her the part of the White Swan quite easily but as a seductress she is not able to please her instructor, Tomas Leroy (Vincent Cassel). With Lily being the prime candidate Nina vows to overcome her timid behavior and win back the role. Both dancers clash, at first, but a strange relationship forms between the two as Lily becomes more supportive of Nina. They find ways to get along despite still being opponents in Lily’s mind.
Black Swan is a psychologically pulverizing reconstruction of the famed and revered Russian ballet Swan Lake. Aronofsky applies his vision to a singular narrative concerning a group of young dancers surrounding the production of Swan Lake which serves as the core that feeds the film’s pulsating reveal. Black Swan explores this concept from the perspective of Nina (Natalie Portman), a talented young woman trying desperately to achieve perfection in her art. The film takes itself quite seriously in a psychological sense and from the very first scene we are exposed to her perverse attitude towards this production as a means to excellence and success. Competition gets heated when a gifted rival, Lily (Milla Kunis), begins to outperform Nina.
The production of Swan Lake requires one ballerina to perform two very distinct roles: the innocent and charming Whit Swan and the sensual and bewitching Black Swan. The approach to each performance must be unique and confident. Nina’s grace and discipline wins her the part of the White Swan quite easily but as a seductress she is not able to please her instructor, Tomas Leroy (Vincent Cassel). With Lily being the prime candidate Nina vows to overcome her timid behavior and win back the role. Both dancers clash, at first, but a strange relationship forms between the two as Lily becomes more supportive of Nina. They find ways to get along despite still being opponents in Lily’s mind.
Shortly after Nina, questionably, earns the lead role as the Swan Queen she begins to suffer from a noticeable separation from her fellow dancers as well as the heightened pressure of mastering the role brought about by her instructor. Adding to this embellished feeling of isolation her mother, and sole caretaker, develops a mysteriously unstable obsession with supervision and guardianship. These circumstances no only affect Nina’s performance but also her mental condition. Before long she is terrorized by hallucinations which purge and eventually subjugate her state of mind.
Looking back at the films trailer one would undoubtedly place some curiosity upon the so-called metamorphosis or transformation of Nina. I was curious how much of a role this would play in the film and whether or not I would feel let-down in the process. To be honest not once did I feel cheated by the film's methods; its fleeting optimism and increased tension paved the way for Aronofsky’s brilliant and unsettling use of genre clichés. The seamless transitions from dark humor to grotesque horror to sexual desire are astonishing and never predictable.
Bodily horror has been sort of a motif in all of his films but with Black Swan Aronofsky has outdone himself. Prepare to be unnerved. Like out of some nightmarish fantasy comes the twisted and shocking depiction of insanity and torment that carries the film’s traumatic tone with vitality that rivals any Hitchcock, Polanski or Cronenberg. Some of the scares are genuinely terrifying. Nina attempts to perfect her role as the black swan so much so that she literally embodies it. The mind can only take so much stress before finding other ways to make sense of things. The role consumes her as a parasite consumes its host. The progression is slow but vicious—seeking an audience with patience to wrap in its vice-grip. Aronofsky will challenge many with this film and for some it will prove to be too much.
Looking back at the films trailer one would undoubtedly place some curiosity upon the so-called metamorphosis or transformation of Nina. I was curious how much of a role this would play in the film and whether or not I would feel let-down in the process. To be honest not once did I feel cheated by the film's methods; its fleeting optimism and increased tension paved the way for Aronofsky’s brilliant and unsettling use of genre clichés. The seamless transitions from dark humor to grotesque horror to sexual desire are astonishing and never predictable.
Bodily horror has been sort of a motif in all of his films but with Black Swan Aronofsky has outdone himself. Prepare to be unnerved. Like out of some nightmarish fantasy comes the twisted and shocking depiction of insanity and torment that carries the film’s traumatic tone with vitality that rivals any Hitchcock, Polanski or Cronenberg. Some of the scares are genuinely terrifying. Nina attempts to perfect her role as the black swan so much so that she literally embodies it. The mind can only take so much stress before finding other ways to make sense of things. The role consumes her as a parasite consumes its host. The progression is slow but vicious—seeking an audience with patience to wrap in its vice-grip. Aronofsky will challenge many with this film and for some it will prove to be too much.
Along with Nina’s mental and physical anxieties she is forced to come to terms with herself as a woman. This is just as much a coming-of-age tale as it is a horror and to be completely honest the combination is quite spectacular. Her instructor has taken her under his wing, so to speak, as his newest talent prospect. Their relationship is certainly sexually charged, yet his intentions are not strictly relational for he seeks to take advantage of her vulnerability as a means to exploit her darker side in hopes of ultimately helping the production.
Black Swan is just what American cinema needs in a time when, internationally, we are lacking artistically. Unfortunately this film will be shown to limited audiences but I challenge all who are looking for something exciting and innovative to check out this film like I did and you will not be disappointed.
Black Swan is just what American cinema needs in a time when, internationally, we are lacking artistically. Unfortunately this film will be shown to limited audiences but I challenge all who are looking for something exciting and innovative to check out this film like I did and you will not be disappointed.