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Black Swan (2010)

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A committed dancer wins the lead role in a production of Tchaikovsky's "Swan Lake" only to find herself struggling to maintain her sanity.

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(screenplay), (screenplay) (as Andrés Heinz) | 2 more credits »
Popularity
587 ( 16)
Won 1 Oscar. Another 91 wins & 257 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Thomas Leroy / The Gentleman
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Veronica / Little Swan
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Galina / Little Swan
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Madeline / Little Swan
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Andrew / Suitor
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Tom / Suitor
Sergio Torrado ...
Sergio / Rothbart
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Mr. Fithian / Patron
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Mrs. Fithian / Patron
Abraham Aronofsky ...
Mr. Stein / Patron (as Abe Aronofsky)
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Storyline

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. Written by Fox Searchlight Pictures

Plot Summary | Plot Synopsis

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for strong sexual content, disturbing violent images, language and some drug use | See all certifications »

Parents Guide:

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Details

Official Sites:

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Country:

Language:

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Release Date:

17 December 2010 (USA)  »

Also Known As:

El cisne negro  »

Box Office

Budget:

$13,000,000 (estimated)

Opening Weekend:

$1,443,809 (USA) (3 December 2010)

Gross:

$106,952,327 (USA) (29 April 2011)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The film began as a screenplay by Andres Heinz called "The Understudy" and took place in the world of New York theater. Darren Aronofsky liked the script, but suggested it be changed to ballet. John J. McLaughlin wrote the new script, which was subsequently rewritten by Mark Heyman. See more »

Goofs

When Nina returns home and looks for her mother, after being assigned a role, a camera operator is visible in a mirror. See more »

Quotes

[first lines]
Nina Sayers: I had the craziest dream last night. I was dancing the White Swan.
See more »

Connections

Referenced in Reimagine: The Game (2011) See more »

Soundtracks

Outside the Lines
Written by Praveen Sharma and Travis Stewart
Performed by Sepalcure (featuring Angelica Bess)
Courtesy of Hotflush Recordings
Contains "Swan Lake" written by Pyotr Ilyich Tchaikovsky
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A Swan Dive into Darkness
18 October 2010 | by (United States) – See all my reviews

Darren Aronofsky's "Black Swan" makes ballet cool—and if that isn't a Herculean feat in itself, I don't know what is. It also happens to be one of the best films of the year, featuring one of the best performances of the year. Natalie Portman will be nominated for her devastating portrayal of petite perfectionist Nina the ballerina or I'll pull a Werner Herzog and eat my shoe.

"Black Swan" is cut from the same cloth as Aronofsky's 2008 film "The Wrestler," if at the opposite end. Interestingly, before either project was realized, the director was reportedly mulling a drama about the relationship between a professional wrestler and a ballerina. Somewhere along the way, however, that concept was split down the middle—and thank God. "Black Swan" is brilliant, but it wouldn't necessarily play well with others.

Like its predecessor, the film examines a physically demanding and widely unappreciated art, and though thematically similar, the two complement each other via mutually exclusive cinematic vernaculars. "The Wrestler" is ultimately a safer film. Its emotional experience is directly conveyed via plot and dialogue. What Aronofsky attempts with "Black Swan" is riskier: he plays genre Frankenstein, taking established themes and transplanting them into that which feels initially least appropriate—horror.

Yet despite certain unmistakable cues, I'd hesitate to call "Black Swan" a horror film. Visually, maybe, but John Carpenter insists "The Thing" is a Western, and likewise there is more to "Black Swan" than is aesthetically obvious. It probably best fits the psychological thriller mold, but as Aronofsky suggests through his manipulation of mirrors, it is not a film that ever casts a clear reflection. For me, that dichotomy is what makes it so fascinating and rewarding.

"Black Swan" strikes an immediate haunting note that seems to grow louder with reverberation rather than quieter. In the first half, the director lays track work; in the second, he runs right off it. Nina begins her journey receiving the coveted role of the Swan Queen in a modernist production of Tchaikovsky's "Swan Lake." Her practiced technique makes her ideal for the role of the goodly White Swan, but her lascivious director (Vincent Cassel) has reservations about her ability to portray her evil twin, the titular Black Swan—a character that embodies impulse and lust. Nina's process of unlearning takes her to increasingly dark, surreal depths.

The final act of the film comprises the most riveting 40 minutes I've seen on screen all year, though "Black Swan" is never the mindf**k some have improperly labeled it. Aronofsky deliberately builds atmosphere and anticipation toward a Kubrickian climax that is at once obvious and stunning. Tchaikovsky's score falls like an aerial assault, and that inherent theatricality collides with Aronofsky's narrative as they come to a dual boil.

Perhaps best of all, however, is that for all the audacity on display, the director knows when to dial it back as well. The casting of Mila Kunis ("Forgetting Sarah Marshall," "That 70's Show") was idyllic. She plays a comic relief of sorts, with a comely, down-to-earth veneer but viperous eyes. Her performance is fantastically calculated—she provides derisive, but much needed perspective on Nina's deteriorating sense of reality.

"Black Swan" is a wholly effective work born from the shadowy underside of the mind, anchored by a career-defining turn by Portman. It is a quick, impulsive piece, but it explains artistic devotion and the consuming nature of obsession as well or better than any film I've ever seen. In hindsight, it feels more characteristic of the filmmaker responsible for "Pi" and "Requiem for a Dream" than "The Wrestler," though the parallels between it and "Black Swan" run deep.

They may be cut from the same cloth, but the difference between the two is as stark as black and white. Hail Aronofsky, the Swan King.


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