Funny how you can watch a movie differently about it when we find elsewhere that said - against all odds: and Black Swan is really a film about the ballet world? True, there are thematic similarities with other films, Red Shoes to Showgirls (the latter, a true reference work for Ed Gonzalez of Slant, it's funny) and, yes, He talks about ruthless rivalry between ambitious young women in pursuit of excellence maddening, but hey, as Black Swan is more a film about the mental world of a character who is working in the ballet world (one would have imagined something else, there are workaholics and competition everywhere), it remained as I feel that it is a "middle" really dig the film as an obsession is that of the bathroom. It had to happen: with Black Swan Aronofsky has entered the luxury to make this cinematic-type male fantasy: to enter the ladies room and watch (or fantasize) what is happening.
Toilet manors to galas, toilet bars, bathroom lodge an artist or a private apartment ... : It's crazy as they come back and that things happen. This is where Portman and Mila Kunis, starting to the court that Portman, in ecstasy, repels the advances of a enterprising young man (in the toilets of a bar for men rave whose plans may be unhealthy aversion to sex), and here, especially (that of her own apartment, she still shares at 28 years with his mother) Nina / Portman confronted with concern the image of his "own body" and its strange metamorphoses (since it suggests, touches, it turns into a chicken). With its profusion of mirrors and bathtubs, Black Swan is indeed inhabited by an obsession with the body that could be called a teenager. The reasons are fairly literal, from the repulsive to guess what they aspire to poetic commentary during the very sapphic love scene between Kunis and Portman (yet entirely perfect: nothing to write to his mother), digital effects illustrate how the adventure does not just Portman chills, but literally goosebumps, and Paris are open to what is clear in Black Swan interpretation of Nina retarded girl - suffering, albeit belatedly, anxieties and sexual changes that will this ugly duckling will not swan (black) of the title, bruised and transfigured by the liberation forces of his desire.
In the interim, she will spend her time in the bathroom in horror to see the condition of his toenails (broken, they bleed), to extract pieces of skin that are beyond the corner of his fingernails for or to extract the eruption of the back of what seems like a bird feather. As these are scenes that remain in print and are (sometimes) forget the bluster, Black Swan shows there something else that the long narcissistic fantasy of a teenage girl who lingered empty blackheads? The constitution of the central character seems so weak that it would be presented at the beginning of the century latter, as a typical example of the decay caused by an intense masturbation. And yet, everything remains pretty toilet in this nightmare of duplication: one does not feel the sweat, there is nothing dirty or odorant; any remains of the bathroom at the dance studio, confined in a perfectly hygienic world where traces of physical exertion appear soon. Drift into madness is also common in the adolescent daydream, which rarely moves and rarely illusion, especially when negotiating qu'Aronofsky lazily ("it was only a dream ..." he Nothing in the door ") its effects of contamination between fantasy and reality that is rarely fooled or confused, the best being probably all take to a phantasmagoria, until proven otherwise from time to time provided by the reaction-shot a secondary character. Vincent Cassel, for instance, is deemed to take a strong role and threatening, but its function would be reduced instead to ask about her new charge of approving looks that belie his delusions of persecution, manifested by those giggles and such hostile glances from of the troop. Regarding the body of other women - stigmatized by age, mutilation or cosmetic surgery, Aronofsky missing a great opportunity to invest the look of her heroine an obsession worried about what lies ahead. These mutations could haunt her, but it's up to us to present them, without betraying a fascination Portman not whether or feel threatened by these incarnations of the premature aging that awaits.
It is a pity, then, that a film so obviously obsessed with the private report, anxious, the body, leaving the ice. True, the final performance was still enough to move, then it is torn from its relative indifference for a moment, and begins to think about the virtues Transformative art when its execution transforms into lyrical beauty breaks personal and small signs of ugliness starkly illuminated by the mirrors in our bathrooms. Still, for a successful melodrama, the emotions of the public must go crescendo to the climax. This journey, here is a failure: failed transitions between reality and fantasy; failed, the effect of weightlessness that was a fight, missed the emotional connection to heroin: missed the movie, because the fantasy here, s proves without doubt that his protagonist is commonplace characterless.
Toilet manors to galas, toilet bars, bathroom lodge an artist or a private apartment ... : It's crazy as they come back and that things happen. This is where Portman and Mila Kunis, starting to the court that Portman, in ecstasy, repels the advances of a enterprising young man (in the toilets of a bar for men rave whose plans may be unhealthy aversion to sex), and here, especially (that of her own apartment, she still shares at 28 years with his mother) Nina / Portman confronted with concern the image of his "own body" and its strange metamorphoses (since it suggests, touches, it turns into a chicken). With its profusion of mirrors and bathtubs, Black Swan is indeed inhabited by an obsession with the body that could be called a teenager. The reasons are fairly literal, from the repulsive to guess what they aspire to poetic commentary during the very sapphic love scene between Kunis and Portman (yet entirely perfect: nothing to write to his mother), digital effects illustrate how the adventure does not just Portman chills, but literally goosebumps, and Paris are open to what is clear in Black Swan interpretation of Nina retarded girl - suffering, albeit belatedly, anxieties and sexual changes that will this ugly duckling will not swan (black) of the title, bruised and transfigured by the liberation forces of his desire.
In the interim, she will spend her time in the bathroom in horror to see the condition of his toenails (broken, they bleed), to extract pieces of skin that are beyond the corner of his fingernails for or to extract the eruption of the back of what seems like a bird feather. As these are scenes that remain in print and are (sometimes) forget the bluster, Black Swan shows there something else that the long narcissistic fantasy of a teenage girl who lingered empty blackheads? The constitution of the central character seems so weak that it would be presented at the beginning of the century latter, as a typical example of the decay caused by an intense masturbation. And yet, everything remains pretty toilet in this nightmare of duplication: one does not feel the sweat, there is nothing dirty or odorant; any remains of the bathroom at the dance studio, confined in a perfectly hygienic world where traces of physical exertion appear soon. Drift into madness is also common in the adolescent daydream, which rarely moves and rarely illusion, especially when negotiating qu'Aronofsky lazily ("it was only a dream ..." he Nothing in the door ") its effects of contamination between fantasy and reality that is rarely fooled or confused, the best being probably all take to a phantasmagoria, until proven otherwise from time to time provided by the reaction-shot a secondary character. Vincent Cassel, for instance, is deemed to take a strong role and threatening, but its function would be reduced instead to ask about her new charge of approving looks that belie his delusions of persecution, manifested by those giggles and such hostile glances from of the troop. Regarding the body of other women - stigmatized by age, mutilation or cosmetic surgery, Aronofsky missing a great opportunity to invest the look of her heroine an obsession worried about what lies ahead. These mutations could haunt her, but it's up to us to present them, without betraying a fascination Portman not whether or feel threatened by these incarnations of the premature aging that awaits.
It is a pity, then, that a film so obviously obsessed with the private report, anxious, the body, leaving the ice. True, the final performance was still enough to move, then it is torn from its relative indifference for a moment, and begins to think about the virtues Transformative art when its execution transforms into lyrical beauty breaks personal and small signs of ugliness starkly illuminated by the mirrors in our bathrooms. Still, for a successful melodrama, the emotions of the public must go crescendo to the climax. This journey, here is a failure: failed transitions between reality and fantasy; failed, the effect of weightlessness that was a fight, missed the emotional connection to heroin: missed the movie, because the fantasy here, s proves without doubt that his protagonist is commonplace characterless.
