Black Swan (2010)
Review by Roger Ebert
Darren Aronofsky's Black Swan is a full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. It centers on a performance by Natalie Portman that is nothing short of heroic, and mirrors the conflict of good and evil in Tchaikovsky's ballet Swan Lake. It is one thing to lose yourself in your art. Portman's ballerina loses her mind.
Everything about classical ballet lends itself to excess. The art form is one of grand gesture, of the illusion of triumph over reality and even the force of gravity. Yet it demands from its performers years of rigorous perfectionism, the kind of physical and mental training that takes ascendancy over normal life. This conflict between the ideal and the reality is consuming Nina Sayers, Portman's character.
Her life has been devoted to ballet. Was that entirely her choice? Her mother, Erica (Barbara Hershey), was a dancer once, and now dedicates her life to her daughter's career. They share a small apartment that feels sometimes like a refuge, sometimes like a cell. They hug and chatter like sisters. Something feels wrong.
Nina dances in a company at New York's Lincoln Center, ruled by the autocratic Thomas Leroy (Vincent Cassel). The reach of his ego is suggested by his current season, which will “reimage” the classics.