Miguel Cane
Darren Aronofsky obsessions have permeated all his work since the advent of film Pi: The Order of Chaos (1998) and have established as one of the most iconic filmmakers of the past decade, especially for the strong and disturbing Requiem for a Dream (2000 - adaptation of the novel unfilmable virtually Hubert Selby, Jr.) and more recently by The Wrestler .
However, The Black Swan is a very different thing. For the first time, Aronofsky is launched to explore another world completely foreign to his own - the world of the feminine and the discipline of dance, and it does just as complex, convoluted and often dazzling with viewers shaking for quite prepared to believe they can not imagine what they are coming.
As if it were a fairy tale, it reveals the story of Nina Sayers (Natalie Portman, in great shape, beautiful, fragile) is a beautiful ballet dancer in New York - could not be otherwise - who lives with his mother, Erica (an unrecognizable Barbara Hershey, devastated by the knife) a frustrated woman living precariously through the race in the dance that has forced his daughter, who methodically has asexual and childlike, to suit their own desire to be truncated ballet diva. This is Nina's obsession: to be perfect. The fact that the announcement of a new production of The Swan Lake, Tchaikovsky, along with the prima ballerina Beth MacIntyre (Winona Ryder) and last is roasting, is an opportunity to flourish to reach their full potential ... or something much worse.
Aronofsky takes a script that has substantial deficiencies and polishes, cleans and style, to mount a spectacular puppet of psychological horror, the threat comes not from outside but inside, which in many levels the concept owes much to the famous trilogy apartments Polanski - Repulsion (1965), Rosemary's Baby (1968), and Tenant (1976) - and the mythological Person (Bergman, '66), especially to establish the dynamics of the other, the other, the duality and duplicity of the female mystic. Nina is an anxious child, with insecurities cultivated by his mother for control, the appearance of beautiful, ambiguous and enigmatic rival dancer Lily (Mila Kunis, who transcends its origin trashy television to give the width) is the element that triggers a series of situations more more violent (visual and performing arts) that might be hallucinations Nina's own, under so much pressure to be perfect, or something indescribable, perhaps over-or anti-natural.
Natalie Portman, as did Mia Farrow in Roman Polanski's masterpiece, carrying on his shoulders (or rather, feet) the weight of the film and its persuasive efforts on the viewer is key to paint the picture of what is a young woman on the verge of mental collapse, or perhaps a beautiful perfect monster. Aronofsky's driving and she literally comes complete with a surprising intensity for their age. The line between actress and director, as the duo Farrow / Polanski masterfully works.
Another notable element of the film, is the soundtrack by Clint Mansell designed based on the Tchaikovsky score (which is why you can not access an Oscar), which serves as a chiaroscuro of sound and is an ideal accessory for film.
Disturbing, disturbing, in a style calculated - like a ballet, and a chilling composition The Black Swan is an adult movie, anxious, not a thriller, not a horror movie, nor a conventional tape. The audience will enter at your own risk, but do not expect to find something that is easy to explain. This dark tale is not suitable for the fainthearted.
Swan Black / Black Swan
With Natalie Portman, Vincent Cassel, Winona Ryder, Mila Kunis and Barbara Hershey. Darren Aronofsky directs
USA 2010
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