It's a core shaker.

Rating: 10/10 (18 August 2012)

I believe that this film, with little hyperbole, is quite simply an exceptional piece of film-making. So I find it necessary that I marshal my words carefully to explain why I justify such an exuberant statement. It's very important to me.
Upon viewing 'Black Swan' for the first time, the immediate observation was the striking resemblance to 'The Wrestler', most likely, if not undoubtedly, a companion piece. The opening prologue ignites a searing and visceral cinematic style that strides through the entire feature, much the same as in 'The Wrestler'. The whirling mix of music from Tchaikovsky to The Chemical Brothers, layered with a complex array of harrowing whispers, reversed laughters and bird noises. It generates an accomplished soundtrack that compels a melodramatic story to rise to the musics grandeur.
And speaking of melodrama. The story. An unnerving tale of anxiety, rebellion and fear. The narrative is based on the frail 'wall-flower' and brand new prima ballerina, Nina (Portman) in the New York Ballet Company. Who's lead in the upcoming Swan Lake is challenged by the confident and sensual 'new girl' Lily (Kunis). As the opening production looms large in the mind of Nina we see her spiral into paranoia and strange occurrences start to invade her life, a tangible inter-winding symbolism questions what is real and what seems to be delusions of an unraveling mind.
This dark and twisted narrative accompanied with such an emotive soundtrack could be overwhelming for a less experienced Director. But Darren's ability to create a visually breathtaking feature is unquestionable. A true feast for the eyes. The story and music seem to uproot and crystallize the mise-en-scene. The beautifully crafted choreography is captured in a lose, hand-held, style that accentuates the strength and skill required to perform in such a way.
It becomes evident just how remarkable Natalie Portman's performance is. Her physical appearance exaggerates her haunted mentality, her willowy form is symbolic of her frailty to corruption by the Machiavellian rival Lily (Kunis), the obsessive Mother (Hershey) and the predatory Artistic Director of the Ballet, Thomas (Cassel).
These antagonists shake Nina to the core during her pursuit to tread the thin line between her White and Black Swan. Metaphors for her oppression and ascendancy. The story twists, turns and crescendos throughout, and we eventually draw into a dramatic and fittingly poignant conclusion.
Bravo.