Movie Review：Black Swan

Movie Review：Black Swan
Cinema Release Date: February 9, 2011
Directed by Darren Aronofsky
Natalie Portman, Mila Kunis, Vincent Cassel
Genre: Drama, Thriller, Fantasy
Time: 01h43min Production Year: 2010
Oscar for Best Actress Oscars / Academy Awards 2011 Edition No. 83



The ballet world is a rare movie universe, a context shunned by filmmakers, yet inspiring through its themes of a conception of cinema, a use of genres and topics. This has certainly attracted Darren Aronofsky at the time to attack his new screenplay (he wrote all of his films), a world bathed in grace, and the competition is exceeded. And it is this angle that the director of Requiem for a Dream has shaped his script, the staging of artistic involvement as much physical as moral, treated realistically for one and the other unreal. 

Because who has ever been fascinated by this ritual perfection, this coordination of movements choreographed to the pinnacle of his success with young women obsessed by fear of failure, as owned by their roles. A fascination that has the appearance that the extreme difficulty of its implementation, both sides of the same art, two sides of the same person, a duality personified by the character of Natalie Portman and even the theme of the ballet it begins: Swan Lake. As high in the cult of artistic perfection by a castrating mother, Nina Sayers (Portman) lives only for the art she has: the ballet, its ultimate goal: getting the lead role of Swan Lake. So it seems to approach the goal, another dancer and joined the troupe creates doubt in the minds of Nina, a condition that will cease to apply to the dancer, obsessed by the desire to embody the better as pure as the dark side of his character, to the point of no return? 

Aronofsky had already proven itself in the art of staging at the brilliant but disturbing Requiem for a Dream, is also his main concern. The choice of seeing his new story walking the halls of New York City Ballet is no stranger there and allows the director to cultivate his thirst for the exercise of style while perfecting his art director. Until you reach perfection? Surely, Aronofsky is at the top of his art can take an understatement, and yet the man is still in its fifth embodiment, a clear way to say that American's talent is unique, which Black Swan is its fulfillment. For everything there is to control the evolution of characters in his script, the style control to the practice of staging a rare perfect movies are also running a grip: that of the image. In the wake of Natalie Portman at the top of his game, alternating the absolute fragility of virgin and innocent character she plays with the madness of his psychic metamorphosis, Aronofsky takes the viewer on a captivating work, metaphorically representative of the universe selected and subjected to a staged hallucinations, near perfection.

Schizophrenia behavioral excess pretext for all situations, Black Swan cordially invites his ballet illusory debauchery: sex, omnipresent, filmed with grace, following the game of seduction with the viewer, drugs, violence, blood, all of which are repulsive tilt the film in black and the work we dive into total darkness, between dream and reality. Yet the film does not fall into the horror or the dread, just a chilling atmosphere, which installs doubt on each scene, which maintains the motivations of each character (including Mila Kunis, poisonous), we assists and dazzled the screenplay metaphor of a ballet and its history, launched on stage, thrilling to the sounds of classical music by Tchaikovsky, is flat.

The suspense was no longer a Black Swan is up to the expectations placed in him, both aesthetic and experimental work is in the extreme performance of a directing style, a talent to service its staged, dreamlike and captivating, a unique charm to what appears to be nothing less than a masterpiece.