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black swan dvdscr’ a new drama/thriller film by the same director as ‘The Wrestler with black swan subtitles, rated 119th on the IMDB top 250 films. Audio is from DVDScr black swan video streaming unlike many of the cam audio releases out at the moment.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.
The atmosphere at the Virginia Film Festival’s sold-out opening night film, Black Swan, was convivial—the audience was comprised largely of older people who chatted amongst themselves and clapped heartily at the mention of each festival sponsor. Darren Aronofsky’s films (which include Requiem for a Dream and The Wrestler) roil with striking, horrific imagery and raw performances. Black Swan, which stars the inimitably lovely Natalie Portman, effervescent TV star Mila Kunis, and Vincent Cassel, is the same: visceral, extraordinarily tense, and utterly devastating.
Nina Sayers (Portman) dances in a New York City ballet company run by Thomas Leroy (Cassel). When veteran dancer Beth MacIntyre (Winona Ryder) retires, Nina wages a meek but determined battle for the lead role in Swan Lake, which encompasses both the vulnerable, virginal White Swan and the evil Black Swan. Nina lives in a tiny, pastel-colored apartment with her mother (Barbara Hershey), an emotionally unstable former dancer. Nina’s bedroom is painted in pink butterflies and adorned with fluffy stuffed animals; Mother tucks her in every night, removing Nina’s earrings and winding a music box. Nina’s restrained, uptight innocence is so jarring that when other characters curse or joke, their crass words clash dissonantly with Nina’s insular world. Leroy and fellow dancer Lily (Kunis) work to chip away Nina’s composure, to break her down until she can dance with the passion required for the Black Swan…and as Nina’s walls crumble, she descends into complete insanity.
As the movie progresses, bubbly, frank Lily takes on a menacing, erotically-charged presence in Nina’s mind. In Aronofsky’s hands even Kunis’s graceful ease, so disparate from Nina’s rigidity, becomes ominous. Lily and Nina become interchangeable in Nina’s mind, and her sexual awakening becomes sinister, narcissistic, equally threatening and pleasurable. Cassel’s Leroy is a slimy egotist who abuses his power to sexually manipulate Nina.
Nina’s innocence mirrors that of the White Swan, certainly; what’s more interesting is comparing Nina’s arc from virtue to lunacy to Natalie Portman’s career. In Black Swan, Portman shreds the veil and virtually becomes Nina, both vulnerable and insane, White Swan and Black Swan. Like Nina, Portman is perfect for the role of White Swan, but to watch her take on the darker side of Nina is astonishing. Aronofsky emphasizes broken toenails, a displaced diaphragm, a bloody hangnail, and snapping ankles with crackling sound effects. Nina’s breathing underscores much of the film, keeping the viewer on edge like a panicked heartbeat in a horror movie. To break in new shoes, dancers score, bend, beat, and crack the soles. The film implies that dancers only amount to what’s reflected back to them: as Nina’s world begins to collapse, mirrors and doppelgangers take center stage. Nobody does “crazy” quite like Aronofsky and his effects team (remember Ellen Burstyn and the fridge from Requiem for a Dream?), and Nina’s hallucinations merge flawlessly with the film’s reality—distinguishing between real and imagined in Black Swan is a fool’s errand.
Aronofsky and Portman have the clout to make Black Swan an Oscar contender—as well it should be. As the credits rolled at the Virginia Film Festival, the audience sat in silence.
The atmosphere at the Virginia Film Festival’s sold-out opening night film, Black Swan, was convivial—the audience was comprised largely of older people who chatted amongst themselves and clapped heartily at the mention of each festival sponsor. Darren Aronofsky’s films (which include Requiem for a Dream and The Wrestler) roil with striking, horrific imagery and raw performances. Black Swan, which stars the inimitably lovely Natalie Portman, effervescent TV star Mila Kunis, and Vincent Cassel, is the same: visceral, extraordinarily tense, and utterly devastating.
Nina Sayers (Portman) dances in a New York City ballet company run by Thomas Leroy (Cassel). When veteran dancer Beth MacIntyre (Winona Ryder) retires, Nina wages a meek but determined battle for the lead role in Swan Lake, which encompasses both the vulnerable, virginal White Swan and the evil Black Swan. Nina lives in a tiny, pastel-colored apartment with her mother (Barbara Hershey), an emotionally unstable former dancer. Nina’s bedroom is painted in pink butterflies and adorned with fluffy stuffed animals; Mother tucks her in every night, removing Nina’s earrings and winding a music box. Nina’s restrained, uptight innocence is so jarring that when other characters curse or joke, their crass words clash dissonantly with Nina’s insular world. Leroy and fellow dancer Lily (Kunis) work to chip away Nina’s composure, to break her down until she can dance with the passion required for the Black Swan…and as Nina’s walls crumble, she descends into complete insanity.
As the movie progresses, bubbly, frank Lily takes on a menacing, erotically-charged presence in Nina’s mind. In Aronofsky’s hands even Kunis’s graceful ease, so disparate from Nina’s rigidity, becomes ominous. Lily and Nina become interchangeable in Nina’s mind, and her sexual awakening becomes sinister, narcissistic, equally threatening and pleasurable. Cassel’s Leroy is a slimy egotist who abuses his power to sexually manipulate Nina.
Nina’s innocence mirrors that of the White Swan, certainly; what’s more interesting is comparing Nina’s arc from virtue to lunacy to Natalie Portman’s career. In Black Swan, Portman shreds the veil and virtually becomes Nina, both vulnerable and insane, White Swan and Black Swan. Like Nina, Portman is perfect for the role of White Swan, but to watch her take on the darker side of Nina is astonishing. Aronofsky emphasizes broken toenails, a displaced diaphragm, a bloody hangnail, and snapping ankles with crackling sound effects. Nina’s breathing underscores much of the film, keeping the viewer on edge like a panicked heartbeat in a horror movie. To break in new shoes, dancers score, bend, beat, and crack the soles. The film implies that dancers only amount to what’s reflected back to them: as Nina’s world begins to collapse, mirrors and doppelgangers take center stage. Nobody does “crazy” quite like Aronofsky and his effects team (remember Ellen Burstyn and the fridge from Requiem for a Dream?), and Nina’s hallucinations merge flawlessly with the film’s reality—distinguishing between real and imagined in Black Swan is a fool’s errand.
Aronofsky and Portman have the clout to make Black Swan an Oscar contender—as well it should be. As the credits rolled at the Virginia Film Festival, the audience sat in silence.
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