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The Black Swan

Nina was chosen to replace the first dancer in the near Beth construction of Swan Lake. The girl is obviously perfect in the part of the White Swan, but less so than that of its double negative, the Black Swan, because it was too inhibited and unable to express the concern and the sensuality of the creature. Since the scenario predicts that both roles are covered by the same dancer, director Leroy Thomas decides to undergo a grueling training session, allowing it to express itself fully. Meanwhile, Nina is torn between feelings of empathy and envy towards the companion Lily, which has instead a much more peaceful relationship with their sensuality.

You love it or hate it, Darren Aronofsky is a director extraordinarily coherent and complex orchestration of his stories. In the aftermath of an emotionally layered film, but as a linear narrative The Wrestler, which had marked a turning point in his career, the American director makes a detour and look for a new synthesis between the composite structures of his early and the emotional power that had made an unforgettable masterpiece with Mickey Rourke.

The stakes once again is the identity of a figure who needs to acquire the status of narrative character through a journey and a comparison with the microcosm: the adventure becomes a journey of re-establishment, but also an awareness of its limitations. May not appear immediately, but The black swan is in fact a mirror The Wrestler own to the extent that a labor Nina through the door to come to terms with herself, but to take note of the need to match its maximum brilliance with its own self-destruction, in a sort of final showdown with the past and its status as a person / character.

To become a character, in fact, Nina has to look in his being a person and perform a metamorphosis that reflects the history but the showers at the same time of sign: metamorphosis is at the same time of liberation and damnation, and justifies the wavering tone of the film, including melodrama and thrillers. The double negative envelops all the characters and is reflected in the visual work. The Black Swan is why a film sensation, but also a story lysergic acid, which occurs on the perception as if Brian De Palma was running a remake of The Red Shoes , reflecting the confusion of the protagonist also the perception of the viewer, which relates to events through the eyes of the protagonist crushed, always more incapable of distinguishing between reality and fantasy.

Aronofsky in this way not only depicts the odyssey of a restless soul, but also a wonderful reflection on the feelings underlying the competitiveness, the desire to be able to be anything but the conviction of having already potentially be forced to reflect an ideal that is not yours. Nina is in this way is the product of the efforts of Thomas and his show, and mother who for years has forced it to sacrifice for the ball and broke through an image formed virginal which is manifested in his room full of plush and pastel colors.

In this sense, Nina really needs to make a path of purification and reconstruction of becoming a woman and longing embodied in the mirror by his friend / rival Lily (a convincing and charming Mila Kunis, already seen in Genesis laughable Code): is in this sense, the justification for many high surface lesbian scene to a mere prurient moment of the film. Why do Aronofsky is a director who, even in theories of narrative accounts of his perception, he never loses sight of the flesh of the characters, who live on their own bodies exist and the difficulty of their labor. Here, then, that the location of Nina dotted flagellation of the flesh that are not apparent justification, that appear to be impossible and signs of inner pain that becomes external, but also a transformation.

It is even more extraordinary if this work done on a small body of Natalie Portman, which reaches heights of excellence absolute perfection to be able to embody the emotional fragility and instability of Nina, and the sensuality of the Black Swan : the great dance sequence, in which the metamorphosis takes place, is a time of high cinema for it upset the narrative construction and the overflowing sensuality, released by the actress, really capable to excite and upset at the same time for the otherness of a character who has achieved a perfect duality. Beautiful and disturbing at the same time as this film that renews the value of a director brave and not afraid to be daring, with his actors.

The Black Swan

(Black Swan)

Director: Darren Aronofsky

Screenplay: Andres Heinz, Mark Heyman, John J. McLaughlin (subject Andres Heinz)

Source: U.S. 2010

Length: 103 '

Press Conference at 2010 Venice Film

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