Black Swan

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. (15/02/2011)

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. (29/05/2011)

Yeah, it’s alright. In the end, I hope it helps real ballet because the over-hyped fans will go see what the girls who are mutilating themselves actually like about it. Otherwise, it's a solo Portman film, no question about it, and it’s more disappointingly inconsistent genre-wise. A few of the special effects are very bad. The mom seems to be right out of Carrie, which didn't have to be the case. Winona, on the other hand, was a delight, but she always is. Cassel is nothing special. In the end, it’s a well-aimed advertisement for ballet, which names like Aronofsky and Portman helped bring to the people. (12/02/2011)

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. (22/12/2010)

This movie is a huge gem!!! Natalie Portman shows incredible talent and I believed her every second. The film is not demanding, and yet it is nerve wracking. I like ballet even less after this one. Because I feel a lot of pain and toil from ballet. So does this film. Mila Kunis absolutely amazed me with her courageous acting. A very good drama and experience... just the icky feeling bothers me. (09/02/2011)