Sayers Nina (Natalie Portman) has been awarded the role of his life, the Swan Queen in a top-flight re-telling of Swan Lake, as seen through the eyes of a crazy (Vincent Cassel) seen. But although the queen, she is far from being able to wear the crown. For a great Swan Queen, she must overcome both the virginal, innocent White Swan (a role she inhabits with ease) and the first, seductive Black Swan (one side of her, she is yet to be discovered). Standing in their way is the years of struggle of a mother overprotective and just as confused (played by Barbara Hershey) and a more competitive company news, wild child Lily (Mila Kunis). You quickly realize that this is not the way to perfection in a quiet, beautiful story, but brutality in a world where the line between reality and illusion is slightly blurred.
As he so easily with The Wrestler, Aronofsky is the director of a master of balance, because it offers in its march towards a well-known story is an interesting way. Because the ballad of Swan Lake - that of a swan princess, who is cast under the spell of a wicked magician tells loses the love of her prince to his twin sister, the black swan, only to hello by jumping find a mountain - Black Swan is quiet elegance and grace Nina Natalie Portman on stage. It moves along enjoyed in peace, said, based on the intimate moments of tension in their own right. We are on the side of his bed when Nina wakes up early for rehearsals. We believe that the popping their joints, as it extends, which is physically exhausting and brutal nature of the ritual. Sound design, sealing camera - it's all meticulously designed to build in our mind the very physical nature of dance. It is physical in nature which are then used to test our resolve sharp - we Aronofsky is the crescendo of an hour in advance.
There are performances by Portman as Nina's crazy that you drive safely. one that undoubtedly verschlägt breath - but what drives us, the audience, know the madness is inevitable in the thrilling final act. How about Matthew Libatique device that weighs on the shoulder as she saw Nina on one side of the stage to another? We are still here, with their sense of intensity in the center of the storm. Or maybe the score by Clint Mansell? He juices and Swan Lake, that Aronofsky, the third in the act of throwing the hammer, the energy boost at the right time. It could be the movie surplus sfx over 300, all subtly applied to provide a very natural landscape of the spine-surrealism. All this makes the experience great theater. It needs to be seen on a giant screen, with speaker is off just a bit too hard. A rare, non-3D movie without a mass of explosions, the so-slightly like an experience you should not be in your living room can be coupled.
