Natalie Portman puts on the performance of her life as Nina, an aspiring dancer thrust into a high-pressure role, in Aronofsky’s latest. What do this prima ballerina, a genius mathematician, a group of addicts, and in his last film, a washed-up professional wrestler, have in common? They are all characters through which filmmaker Darren Aronofsky explores tragic demise.
His latest work, Black Swan, is indulgent—even gory—yet it is also thrilling, visually stunning, and easily among the most memorable films of the year.
Nina (Natalie Portman) is a sheltered dancer with New York’s most prestigious ballet company. When company director Thomas Leroy (Vincent Cassel) appoints her as principal female dancer for the upcoming performance of Swan Lake, she is thrust into an envious and pressure-filled position.
Her promotion comes at the expense of former lead Beth MacIntyre (Winona Ryder), who leaves under suspicious circumstances. Nina is thrilled to have the opportunity, yet soon feels the burden of meeting Leroy’s standard of artistic excellence.
The arrogant Leroy has merged the roles of Swan Queen and Black Swan, both to be played by his star. He is confident that Nina has the grace and delicate beauty of the white Swan Queen, yet hazes her to find the sensuous confidence necessary for the Black Swan.
As pressure on Nina mounts, her relationships and sanity deteriorate. She becomes jealous of a rival dancer (Mila Kunis) who possesses the sensuality that Leroy demands of the Black Swan. Compounding her paranoia, Nina feels smothered by her mother (Barbara Hershey), and fears that she will end up like her former role model MacIntyre. All of these factors drive Nina to the brink as opening day draws near.
Black Swan employs the same filmmaking style Aronofsky honed in Pi, Requiem for a Dream, and last year’s hit The Wrestler. He pushes the envelope of the medium to alter the viewer’s perceptions and create a closer connection to the protagonist. For example, in Pi he employs a camera shake technique with grating sound effects to illustrate the suffering of the character’s migraines.
By choosing the subject of ballet and his star Natalie Portman, Aronofsky moves away from the fringe and can introduce his brand of sensory filmmaking to a much wider audience. But make no mistake—this isn’t Disney, and it’s appropriate for adults only.
