Black Swan ★★★★½

Darren Aronofsky’s Black Swan is a film designed to crawl into the darkest depths of your psyche and rip it to shreds. Presenting obsession at its most flagitious, how someone can truly unravel into insanity while on the search for perfection, developing from an innocent and virtuous white swan into a sinister and malefic black swan, showing the ballet industry as a callous and cut throat world, inhumanely tossing women who are no longer of any use to them aside as if they’re a slice of cake. Working in perfect harmony to create a nightmarish and unnerving ambiance is Aronofsky’s handheld psychedelic camera movements and Weisblum’s quickly inter-spliced fragments of Nina’s imagination and reality, with use of mirrors and flashing subliminal imagery, depicting Nina’s mental state as a scrambled disarray of actuality. Holding the picture together is Natalie Portman’s luminous performance, compromising the contrasting black and white swans, executed with such unbelievable delicacy and elegance. Poetic in its subtlety, it’s use of colour or lack there of, mostly consisting of juxtaposing bodacious blacks and phosphorescent whites in it’s set and costume design, reflecting upon Nina’s divergent psyche. Disturbing, powerful, beautiful.

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