Darren Aronofsky's Black Swan (2010)

Critically-acclaimed horror films are a rare sight. Rarer still when they star a 95 lb ballerina. Darren Aronofsky's newest film, Black Swan, could be seen as a companion piece of sorts to The Wrestler. Both films center on individuals whose single-minded pursuit of their professions could be termed noble, maddening, and ultimately tragic. Where The Wrestler starred a 230 lb rock of a man, however, Black Swan gives us someone much different, and ultimately even more distressing; that would be the innocent and naive Nina, played with surprising fearlessness by Natalie Portman.

Nina is a ballerina, one of a bevy of dancers in a New York City company lorded over by the brilliantly egocentric director Thomas Leroy (Vincent Cassel in a riveting performance). The next ballet is to be Swan Lake and Nina is picked to be the company's next prima ballerina. Thomas knows that Nina has the technical skill needed to portray the White Swan, but openly questions whether she possesses the sexuality and passion to master the role of the Black Swan. We follow Nina as she prepares for the role, navigating her unstable mother (a disturbingly brilliant Barbara Hershey) and a new arrival to the company (the lively Mila Kunis), a fellow ballerina whose raw sexuality and unbridled passion pose a direct threat to Nina's ascendancy. All of this builds to a head in the film's final 40 minutes, which stands as one of the most intense movie finales in recent memory. To say any more about the film's plot would be a great disservice; suffice to say that it's doubtful you will ever look at clipping fingernails the same way again.

Aronofsky has long been known as a director whose principals display a madness of some sort, whether it be the heroin addicts of Requiem for a Dream or the mathematician of Pi. As Portman's Nina descends down these same narrow steps, so too does the film itself. Over 300 effects shots were employed in Black Swan, often to harrowing effect. The result is a surreal and dark world in which both Nina and the audience are never quite sure what is real and what is illusory. Featuring absolutely breathtaking cinematography by Matthew Libatique, the film is a visual treat the likes of which we haven't seen in theaters all year. The overarching story structure of the film is admittedly pretty conventional, however Aronofsky's committed direction and a bevy of knockout performances combine to elevate the material to near-classic status.

Portman has never been better and the ferocity with which she tackles the role is stunning. The power of her performance ensures that her tiny frame looms large over the entirety of the film; indeed, she appears in every scene. It is a demanding and difficult role and Portman knocks it out of the park; anything less than the Best Actress statue would be a crime. Not to be outdone, both Cassel and Hershey deliver fantastic performances, and the sense of unease that all three actors contribute to the proceedings cannot be overstated. Kunis also acquits herself well, although her role is perhaps the most one-dimensional of the film.

I'm aware that many people (mostly males) will discount Black Swan due to the ballet setting. This would be a mistake, as they will be missing a brilliant, twisted journey into the world of competitive ballet, replete with sex, violence, and disturbing imagery galore. This is one of the best movies of the year. 5 out of 5 stars.