If this film was released in late 2010, it would certainly appeared in a number of top end of the year, starting with the readers of this blog . Instead it was released in France in February and everyone will be forgotten when the rankings for the new year. The big question is whether this omission is justified or not hypothetical. Black Swan is it a great movie? To help answer this question modestly, let's briefly summarize the latest film from Darren Aronofsky, who tells the story of a young dancer whose hopes are all about getting the lead role in the future ballet adapted from Tchaikovsky's Swan Lake. Get this special role can be interpreted with dignity is not easy because the competition is overwhelming and unbearable pressure. To get there, the heroine must convince his choreographer is able to interpret it with the same grace that the opposites are white swan and black swan. So the story of a metamorphosis from pure body and mind, the young woman undergoing daily changes required by worrying that this dual role and monopolizes the captive. 
It must be said that Black Swan absolutely fits in the continuity of the previous film Aronofsky, The Wrestler . It is once more a film about the metamorphoses of being, on the sudden transformation of flesh into an abyss of self-destruction, the living hell of the human body pushed to its limits the practice of devouring a performing art that goes beyond the lifetime to draw all its power, until the death of the artist. Always adept at staging a Film in the footsteps of actors, close to the style of the Dardenne brothers, Aronofsky now illustrated in a realistic vein less here and turned toward Roman Polanski on the great time to mingle his fantastic tale of psychological drama and even horror. We feel indeed break a possible influence, especially in those sequences where the heroine struggles with her mother and manic with his own demons in the strange, narrow apartment she joined two dance sessions. Nevertheless, and despite a gender difference, continuity is more transparent than the two previous films of the filmmaker, which end almost on the same image as a deadly dive in the art, to an absolute Artist invested to death in his passion.
Readability is in full Aronofsky, whose ideas are subtle, although clearly displayed, as when it convenes again well chosen actors for the stage they are in life. Mickey Rourke devastated after the previous film, this is Natalie Portman - actress who chose to make his early career on hold to complete her studies and achieve the majority to manage her own journey - which epitomizes the role a dancer and conscientious Sensitive. The role of an interpreter basically a smooth beauty, innocent and virginal immediately designate to embody the white swan, but that will stand up to evil in order to achieve the dark. In interpreting her mother's frustrated, quick to see the offspring's own desires frustrated, the aging Barbara Hershey, actress, long in decline. Winona Ryder plays a character about her desperate and suicidal, dancer once adored by the public and the choreographer who is the head of the new ballet, which she was the favorite, now rejected and condemned to pass the torch to the younger artist who resembles him so much. In the skin of the direct competitor of the heroine, a dancer without complex shameless slut desperate to get away, the biggest drag of Hollywood, Mila Kunis, known to increase the conquests and re-hab sessions. Finally, in the role of choreographer, ballet director and responsible for pushing heroin to become the excellent Vincent Cassel. But it is not forbidden to interpret the choice of a French actor to embody his fictional double as an illustration of the will of Aronofsky to go through a Europeanization of his movies. The director has often spoken of his fondness for the Dardenne brothers, and it is no coincidence that one finds here an influence of Polanski example ideal of American filmmaker turned into French filmmaker ...
These reconciliations between reality and fiction are obvious, yet they are relevant and interesting in a meta-discursive film that takes the show artistic foundation and is a metaphor of abandonment as aesthetic total outflow of art as lethal as a self-annihilation sacrificed to the sublime. The clarity of the message, which reflects so much that sometimes takes over the narrative, can pass for an easy, just like this heavy symbolic tendentiously the filmmaker awards white or black costume of the character. Indeed, between the opening scene of the film and his last movie, sometimes it gets lonely and that one is tempted to observe these calculations to construct the filmmaker his idea with some big strings . But the end of the film liberates us from these errors, which is not only beautiful with the brilliant music of Tchaikovsky, but also and especially through the mastery of the staging of Aronofsky, who literally dances with his camera and proves brilliant in the use of sound and special effects. The latter carries the whole sequence, while the narrative fiction and power of these images dancing finally give meaning and force of emotion in the aesthetic theory of Aronofsky, and this masterful Black Swan is a success. Far from being free of defects, and of course heavy faults, this film does not age very well in my mind, is nevertheless a good movie that I want to salute. For we must admit qu'Aronofsky is rare today, it seems to have an idea of his art, a coherent long term vision of the rich aesthetic and ability to feed on the real cause for the fiction brilliantly. After starting his career relatively poor, the filmmaker notes and suddenly realizes movies very smart and sometimes very fine that the merit of being perfectly original.
Black Swan Darren Aronofsky starring Natalie Portman, Vincent Cassel, Winona Ryder, Barbara Hershey and Mila Kunis (2011)
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