Twisted Insides

Rating: Null/10 (17 November 2010)

Black Swan, the latest from Darren Aronofsky is a twisty-turny psychodrama in the vein of Roman Polanski with aspects of The Wrestler through in for good measure. The film constantly pumps itself through with menace, leaving the audience increasingly jolted until the sweeping conclusion.
The story is hard to explain without spoiling anything. Nina (Natalie Portman, at her restrained best) is an earnest ballerina hoping for her big moment. She is potentially foiled (or is she?) by Lily (Mila Kunis), a more striking figure.. all the while under the auspices of Thomas (Vincent Cassel, channeling plenty of smarminess). Along for the ride is Nina's overriding mother (Barbara Hershey) and an dancer on the skids, Beth (Winona Ryder). As these characters collide the plot becomes less and less coherent.
And this does not pose any problems for Aronofsky who along with his capable collaborators in both aural and visual realms works to stir a striking environment. The New York city streets are constantly empty, leaving Nina to face off against unknown forces. Her overdone apartment speaks volumes about her childlike state. Aronofsky, like what he did with Mickey Rourke, hovers behind Portman constantly with his camera creating a sense of constant alertness. Rather than shooting dialogue in two shots, he cuts in front of both actors to convey a volley of emotional drama. Like Polanski's Rosemary's Baby or Repulsion, Aronofsky tries to stir up as much menace as possible. Every frame feels tense, especially when the story becomes more splintered.
The visceral impact of this works because it serves as the driving force behind the film. It's practically impossible to isolate a singular aspect of Black Swan; the sound design, the performances, the writing, etc. all coalesce under Aronofsky's commanding vision. Here he has fully matured as a director, confident in his constantly stylistic protrusions. Consequently the film, like Requiem for a Dream, leaves the viewer gasping for air. By the time the ending credits begin there is a definitive response-but to what, exactly? Are Black Swan's pleasures all sensory? Is there something more intellectually engaging underneath the strong exterior?
These are questions like to divide viewers. But it is a film that works, thanks to Aronofsky's direction, and one that leaves an impression throughout and immediately after. What happens after remains to be seen.