Black Swan

Black Swan

Watched: December 31^st 2010

Darren Aronofsky understands the duality of the human mind better than any director of this generation. His ability to project the psyche of a soul split in two by their inability to let go of an obsession is the most haunting on-screen imagery of any recent films. Black Swan matches the incredible cinematography seen before in two of his most famous films, Requiem for a Dream and Pi. The story is told so intricately through the camera’s shaky follows, sharp cuts, and sweeping turns around the dancers; making the story come alive to the audience. The actors selected for the roles of the film could not have been chosen better. Natalie Portman shines as an innocent White Swan and plays her opposing inner demons with a chilling gleam of pure evil in her eyes. Her dedication to such a twisted role is so vivid and she makes the audience want to scream for her when she is silent. For once a role focused on weakness, is not weak at all, but instead tortured, invoking pity instead of boredom. Mila Kunis was who really caught my eye though. It almost seems that a triple role was asked of her—the wide-eyed smiling student, a sly rival dancer, and a vicious, unstoppable demon. She embraces all three roles so effortlessly that it might as well be three different actresses. I knew her best as Jackie from That 70’s Show—and I never would’ve guessed she would be so versatile of an actress. Though Portman was absolutely stunning and invigorating, it was Kunis’s danger and unpredictability that left hers as the more memorable role. Overall everything about Black Swan was film-making at its best. With perfect moments of sexuality and horror mixed in with a generous dusting of mind-play means another hit for Aronofsky. Word of caution, the beauty of his lead actresses and the ballet they dance is the spoonful of sugar to help the disturbing, stomach churning lesson go down.