Nina Sayers (Natalie Portman) is a dancer in a New York ballet company who lives with her controlling mother (Barbara Hershey) in a pink, childlike bedroom. When director Thomas Leroy (Vincent Cassel) casts her as the Swan Queen, she is perfect for the innocent White Swan. But she has to become the seductive Black Swan too, and a free-spirited new dancer, Lily (Mila Kunis), seems to do that effortlessly.
Portman's performance is incredible. She is fragile, desperate and frightening, and you feel every bit of her pain. Aronofsky shoots the film on grainy 16mm with the camera right behind her, so you feel trapped in her head. Mirrors are everywhere, and you can never trust what they show.
Clint Mansell twists Tchaikovsky's music into a nightmare, and the sound of cracking joints and tearing skin will make you wince. The horror creeps in slowly: a rash, a scratch, a stranger with Nina's face, until the final act explodes on opening night.
Some will find it overheated and melodramatic, and the ballet world has called it a cliché. But Black Swan is a gripping, beautiful and disturbing film, one of the best psychological horror films of the 21st century.









