♣♣♣♣/♣♣♣♣♣
Scratch deeper down the surface and you realize that more than just a movie about ballet, Black Swan, after all, is a psychological thriller rendered beautifully onscreen as a fine example of Man versus Himself. As an ambitious ballerina crumbling under the pressure of a make-or-break performance, Natalie Portman gives a technical yet riveting performance as Nina Sayers and drags you with her on her quest for twisted perfection as she delves deeper into finding her inner black swan. The film itself tackles the process of personal transformation, aided with convenience by the parallel dilemma of a ballerina tasked to do the dual role of the fragile White Swan and the feisty Black Swan in any production of Swan Lake.
The second half of the movie is undeniably where the fun is, and this is not even about the lesbo scene. This is the part where the main character’s delusions get in the way of her perception of reality. And since you, as part of the audience, see the movie though her point of view, neither could you tell what is real and what is not, leading to one surreal experience that could be headache inducing if you let it be. Other sources of inconvenience are the shaky camera shots and some extreme close-ups. Although bothersome at times, it actually helps establish an overall feel for the movie, effectively reflecting the main character’s disturbed psyche, which in turn helps you identify with her more. In effect, the director is giving you a visual piece of her f*cked-up mind.
Scratch deeper down the surface and you realize that more than just a movie about ballet, Black Swan, after all, is a psychological thriller rendered beautifully onscreen as a fine example of Man versus Himself. As an ambitious ballerina crumbling under the pressure of a make-or-break performance, Natalie Portman gives a technical yet riveting performance as Nina Sayers and drags you with her on her quest for twisted perfection as she delves deeper into finding her inner black swan. The film itself tackles the process of personal transformation, aided with convenience by the parallel dilemma of a ballerina tasked to do the dual role of the fragile White Swan and the feisty Black Swan in any production of Swan Lake.
The second half of the movie is undeniably where the fun is, and this is not even about the lesbo scene. This is the part where the main character’s delusions get in the way of her perception of reality. And since you, as part of the audience, see the movie though her point of view, neither could you tell what is real and what is not, leading to one surreal experience that could be headache inducing if you let it be. Other sources of inconvenience are the shaky camera shots and some extreme close-ups. Although bothersome at times, it actually helps establish an overall feel for the movie, effectively reflecting the main character’s disturbed psyche, which in turn helps you identify with her more. In effect, the director is giving you a visual piece of her f*cked-up mind.