Black Swan

An unsettling journey through the ballet stage with an atmosphere that takes your breath away in every shot. Aronofsky came up with his version of mental darkness and I can't stop staring. Mainly thanks to the mesmerizing camera and brilliant Natalie, it is one of those experiences that must be removed from your head almost forcibly due to their suggestiveness. It is difficult to say in one sentence why Black Swan is so amazing. I just know and feel that it truly is. (12/21/2010)

The same (un)attractive Aronofsky, a director who masterfully handles details and always, with the reliability of a Swiss watch, and excels in taking an overall view of the matter. The same goes for Black Swan, a film with incredible potential, offering an unconventional look into the world of ballet and its backstage. The director skillfully utilized this (Libatique and his camera escapades), while Natalie Portman's performance is captivating. Unfortunately, when it comes to the plot, it is lacking. The transformation is unengaging and essentially the same song – meaning Darren relies on certainty and follows the same psychological pattern (plus a few striking inserts). After several times, however, the effect is somewhat muted, and one tends to search for more and more flaws in each subsequent film of his. (05/29/2011)

After the solid but not entirely satisfactory Wrestler, Aronofsky consolidates his position among my most favourite directors. The first hour of Black Swan is pretty similar to Wrestler – we follow very closely (almost intimately) one person at a turning point of their lives, we feel their emotions and every one of their injuries. This is not always very pleasant, Aronofsky knows how to transmit pain from the screen to the viewer like few others. This “introduction” would already be enough for four stars, but the last half hour shattered, disarmed and decimated me; utterly so. I felt a constant chill on my back and I shivered like an aspen tree; my eyes an ears were unable to perceive anything but the film. No other film this year has made me feel like this. 100 % (12/22/2010)

Perfection, obsession, paranoia, beauty. The faltering mind of a young ballerina is a very unreliable guide through this non-traditional drama. Ballet in itself seems like something so entrancing, so perfect that violating the privacy of preparations for something so sacred, could well be called blasphemy. But that is just how Aronofsky shows the reality, the rivalry, the carefully prepared choreography and especially the devotion to the story depicted in the piece. Natalie Portman gives one of her best performances and her Nina is just as delicate as the spinning ballerina in her music box. Their devotion, their thirst for perfection and absolute commitment to their character go hand in hand. If this does not get that supreme award this year, it will be a disgrace for the whole Academy. On the other side of the spectrum, Mila Kunis is the exact opposite of the White Swan, playful, passionate, fallible, yet so much more beautiful with her dark self, showing through her every smile. Music-wise, it’s a masterpiece. The combination of classic variations on Tchaikovsky and Mansell’s dark electronic minimalism form a surprisingly compact unit. The close-ups, even during most of the ballet scenes, add to the intimacy of the piece, creating an emotional rollercoaster that’s hard for the viewer to recover from. Amazing and, especially, original. It was perfect. (02/15/2011)

Aronofsky's declaration of love for The Red Shoes. A psycho (not psychological!) update of Swan Lake for the 21st century in art-mainstream trappings with the now traditionally weeping Natalie who also happens to play her own self wonderfully. I expected more of a balletic backstage full of sharp elbows, intrigue, and obsession, and fewer would-be horror elements that Aronofsky didn't quite master yet (um, mirrors… like seriously Darren?). Still, it works, and it escalates magnificently. (02/18/2011)