BLACK SWAN horrified and transcends (Review)

A horror film that gives a sense of anxiety even though she dazzles the eye fixed the BLACK SWAN open the delicate psyche a dancer appears to be under pressure from his first show star burst. This is a painful story, incredibly well-performed by Natalie Portman, who is launched here and back and forth in a sea of tempestuous emotions which the lines between reality and fantasy nightmarish swamp speech.

Director Darren Aronofsky, working from a scenario credited to Mark Heyman, Andres Heinz and John McLaughlin, defines a Malay tone with scene very first film. Nina Sayers (Portman) is "Swan Lake" dance on a stage that looks like liquid gossamer. She looks... perfect.

And then she wakes up.

Therefore, we are never quite sure that if what we are witnesses is reality or fantasy, a concept which is favoured by the disconcerting sound design, the musical score sometimes disturbed by Clint Mansell, which complements and comments on classical music), and photography, fleet by Matthew Libatique, which looks like it was shot from the point of view a victim of blows and wounds, which has yet to recover its full vision; It felt like some color fades and out, with no discernible trend.

Nina, having won the coveted Swan "Swan Lake," Queen's role began placing even more pressure on itself to meet the requirements of the part. Thomas Leroy (Vincent Cassel), Director of the ballet, company has already clearly considers it lack of passion and sensuality correctly transmit side dark character dance. He leads his tireless, adding another layer of unease with her sexual game - playing. He wants to sleep with it or simply to help her improve?

The mother of Nina, Erica, is a mother of stage uptight, control, a former dancer herself, and his attitude choking in their tiny, shared apartment means that Nina is under pressure, 24 hours a day; It can even masturbate in peace. Her hair tied tight and his face drawn, Barbara Hershey yet beautiful resembles a harridan. But here, too, does sums not sure: is driving his daughter alienated or simply trying to protect and sustain sound?

More pressure comes again dancer Lily (Mila Kunis), a free and open spirit that Tames Nina and attempts to loosen her up with bars, alcohol and breast (his own). Is a deceitful competitor, trying to undermine Nina to tear off the part below or simply some sort of friendly with no agenda on its own?

Nina spiral down emotionally and so bullish on the dance floor, Aronofsky is staffing cleverly controls behind the scenes. But even if you are aware of film techniques that he uses, it is impossible to not be impressed by its touch of light. A heavier hand may have done appallingly sad movie. Nina history can be draining to look at, but it is such a sensual experience is damn near of transcendence.

And the thoughts of spiritual transcendence are charmingly countered by mundane details: Morne, underground, the dancers cinder block lodges. the cramped apartment shared by Nina and her mother (perhaps the most realistic Manhattan apartment never represented on film); the routine of complex preparation of ballet performance shoes.

Performance are also improved audio / visual. Portman is extraordinary, magnetic Cassell and quietly ugly Hershey. Kunis makes threatening his excitement and Winona Ryder, as the former Queen of the ageing of the ballet company, adds a bitter taste in the glow of Fame and fortune.

At times, BLACK SWAN threatens to follow conventional lines or fall expected patterns. But it is really more like a passionate storm struck highly charged emotional lightning. You're never quite sure, where lightning strike.

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