Black Swan (2010)

A ballet dancer wins the lead in "Swan Lake" and is perfect for the role of the delicate White Swan - Princess Odette - but slowly loses her mind as she becomes more and more like Odile, the Black Swan.

Director:

Darren Aronofsky

Writers:

Mark Heyman (screenplay), Andres Heinz (screenplay),

Stars:

Natalie Portman, Mila Kunis, Vincent Cassel

Top 250 #186 | Won 1 Oscar. Another 57 wins & 124 nominations.

Cast

Cast overview, first billed only:
Natalie Portman	...	Nina Sayers / The Swan Queen
Mila Kunis	...	Lily / The Black Swan
Vincent Cassel	...	Thomas Leroy / The Gentleman
Barbara Hershey	...	Erica Sayers / The Queen
Winona Ryder	...	Beth Macintyre / The Dying Swan
Benjamin Millepied	...	David / The Prince
Ksenia Solo	...	Veronica / Little Swan
Kristina Anapau	...	Galina / Little Swan
Janet Montgomery	...	Madeline / Little Swan
Sebastian Stan	...	Andrew / Suitor
Toby Hemingway	...	Tom / Suitor
Sergio Torrado	...	Sergio / Rothbart
Mark Margolis	...	Mr. Fithian / Patron
Tina Sloan	...	Mrs. Fithian / Patron
Abraham Aronofsky	...	Mr. Stein / Patron (as Abe Aronofsky)

Storyline

Nina (Portman) is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica (Hershey) who exerts a suffocating control over her. When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth MacIntyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well. Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her.

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Plot Keywords:

ballerina | dancer | swan lake | ballet | dance | 

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Genres:

Drama | Mystery | Thriller

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Motion Picture Rating (MPAA)

Rated R for strong sexual content, disturbing violent images, language and some drug use

Details

Official Sites:

Official Facebook Official site

Country:

USA

Language:

English French Italian

Release Date:

17 December 2010 (USA)

Also Known As:

El cisne negro

Filming Locations:

Bowling Green, Lower Manhattan, Manhattan, New York City, New York, USA

Box Office

Budget:

$13,000,000 (estimated)

Opening Weekend:

£2,762,429 (UK) (21 January 2011)

Gross:

$106,952,327 (USA) (29 April 2011)

Company Credits

Production Co:

Fox Searchlight Pictures, Cross Creek Pictures, Protozoa Pictures

Technical Specs

Runtime:

108 min

Sound Mix:

Dolby Digital DTS SDDS

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Both Rachel Weisz and Jennifer Connelly were rumored to star as Beth MacIntyre.

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Goofs

When Nina returns home after finding out she has won the role of Swan Queen, she stands at her front door to go in. She is wearing her white scarf around her neck. She then puts her key in the lock and other hand on the door knob as she walks through the door to the other side, her hands are still on the door but her scarf is now over her arm.

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Quotes

[first lines]
Nina Sayers: I had the craziest dream last night. I was dancing the White Swan.

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Connections

Referenced in The Simpsons: Treehouse of Horror XXII (2011)

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Soundtracks

"Outside the Lines"
Written by Praveen Sharma and Travis Stewart
Performed by Sepalcure (featuring Angelica Bess)
Courtesy of Hotflush Recordings
Contains "Swan Lake" written by Pyotr Ilyich Tchaikovsky

User Reviews

A Swan Dive into Darkness

Darren Aronofsky's "Black Swan" makes ballet cool—and if that isn't a Herculean feat in itself, I don't know what is. It also happens to be one of the best films of the year, featuring one of the best performances of the year. Natalie Portman will be nominated for her devastating portrayal of petite perfectionist Nina the ballerina or I'll pull a Werner Herzog and eat my shoe.

"Black Swan" is cut from the same cloth as Aronofsky's 2008 film "The Wrestler," if at the opposite end. Interestingly, before either project was realized, the director was reportedly mulling a drama about the relationship between a professional wrestler and a ballerina. Somewhere along the way, however, that concept was split down the middle—and thank God. "Black Swan" is brilliant, but it wouldn't necessarily play well with others.

Like its predecessor, the film examines a physically demanding and widely unappreciated art, and though thematically similar, the two complement each other via mutually exclusive cinematic vernaculars. "The Wrestler" is ultimately a safer film. Its emotional experience is directly conveyed via plot and dialogue. What Aronofsky attempts with "Black Swan" is riskier: he plays genre Frankenstein, taking established themes and transplanting them into that which feels initially least appropriate—horror.

Yet despite certain unmistakable cues, I'd hesitate to call "Black Swan" a horror film. Visually, maybe, but John Carpenter insists "The Thing" is a Western, and likewise there is more to "Black Swan" than is aesthetically obvious. It probably best fits the psychological thriller mold, but as Aronofsky suggests through his manipulation of mirrors, it is not a film that ever casts a clear reflection. For me, that dichotomy is what makes it so fascinating and rewarding.

"Black Swan" strikes an immediate haunting note that seems to grow louder with reverberation rather than quieter. In the first half, the director lays track work; in the second, he runs right off it. Nina begins her journey receiving the coveted role of the Swan Queen in a modernist production of Tchaikovsky's "Swan Lake." Her practiced technique makes her ideal for the role of the goodly White Swan, but her lascivious director (Vincent Cassel) has reservations about her ability to portray her evil twin, the titular Black Swan—a character that embodies impulse and lust. Nina's process of unlearning takes her to increasingly dark, surreal depths.

The final act of the film comprises the most riveting 40 minutes I've seen on screen all year, though "Black Swan" is never the mindf**k some have improperly labeled it. Aronofsky deliberately builds atmosphere and anticipation toward a Kubrickian climax that is at once obvious and stunning. Tchaikovsky's score falls like an aerial assault, and that inherent theatricality collides with Aronofsky's narrative as they come to a dual boil.

Perhaps best of all, however, is that for all the audacity on display, the director knows when to dial it back as well. The casting of Mila Kunis ("Forgetting Sarah Marshall," "That 70's Show") was idyllic. She plays a comic relief of sorts, with a comely, down-to-earth veneer but viperous eyes. Her performance is fantastically calculated—she provides derisive, but much needed perspective on Nina's deteriorating sense of reality.

"Black Swan" is a wholly effective work born from the shadowy underside of the mind, anchored by a career-defining turn by Portman. It is a quick, impulsive piece, but it explains artistic devotion and the consuming nature of obsession as well or better than any film I've ever seen. In hindsight, it feels more characteristic of the filmmaker responsible for "Pi" and "Requiem for a Dream" than "The Wrestler," though the parallels between it and "Black Swan" run deep.

They may be cut from the same cloth, but the difference between the two is as stark as black and white. Hail Aronofsky, the Swan King.