I can not imagine what to expect when I go to face a new film from Darren Aronofsky (Requiem for a Dream, The Wrestler). With just five features above, the man showed us the diversity of proposals that can be handled (and stick to the angle well, which is lower), while maintaining an obsessive attention to aesthetics and imagery when counting story. The common denominator in the diverse universe of Aronofsky is an obsession, perhaps a reflection of the obsession of director (cliché, I know, but in this case I think is true) when forming their movies, maybe not much, but it is undeniable that the principal characters in this move in their stories promoted by some form of obsession, and Black Swan is no exception to that rule.
Sayers Nina (Natalie Portman in a performance that makes me doubt that she and the actress from the Star Wars prequels are the same person) is a dancer from the pile in the corps de ballet of New York until the director Thomas Leroy (Vincent Cassel) selects for the lead role in its free version of "Swan Lake", in which both the role of Princess Odette (White Swan) and of Odile (Black Swan) are interpreted by the same dancer. Leroy credited to Nina that's perfect for the role of Queen of the Swans, but lacks the passion and sensuality that takes to the role of the Black Swan. With this starting point to begin your trip obsessive Nina to achieve perfection in his performance as a Black Swan. Aronofsky knows Nina's obsession and the journey must be done, and excellently staged, using all resources at hand and especially Portman, which loads the film practically alone. Underlying (or rather, support) is great performance, resources appear stylistic director chooses to demonstrate this process of transformation. The use of mirrors and flat-countershot relevant generating own reflection of the actress in it, accompanied by the use obvious (though not so obvious or excessive) of white and black in sets, costumes and makeup help us to enter the "liberation" of Nina, and subtlety, without realizing it, in his own mind, as Portman's metamorphosis occurs in the plane of reality as the unconscious.
Far from falling into the cliches of the psychological thriller, Aronofsky takes us into the character at that point to attend the proceedings as spectators, never mind understand what happens in reality and what happens in the mind of the child herself, although there anyway and audio visual cues to decipher. If you ask me could even discuss if the character of Lily (Mila Kunis, excellent in the role) is simply the rival who personifies everything that Nina must reach to become the Black Swan, or other internal manifestation of the psyche of the character. The director adds even more layers to the reflection on the transformation extrapolating the dynamics of the ballet, in contrast to the harmony of the dance scenes with grotesque closeups that show the physical damage Portman is getting (or inflicts).
I will not delve further into the plot or details that might reveal too much information, it is the intention of the blog, but yes I would highly recommend this movie. Excellence Aronofsky directs a drama that turns into thriller (for tense moments of pure horror film), looking like its protagonist, perfection in every shot, every sequence, and it succeeds greatly.
If I learn one day to put a system of stars will do in the meantime I'll stick with the good old
4.0/5.0
Thanks for reading, are a wonderful audience
Gonza
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