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BLACK SWAN, All for Art

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is easy to see similarities between a film like Black Swan and the famous Roman Polanski's Repulsion (1965), since both share the same need for aesthetics, same hollow wasteland of repression embodied in screen, no filmic representation that allows give a veneer of something that objectifies, that simply uncheck as expected.

Both dramatic tension arises, whose purpose is essentially space obsession, framed it in all its rawness, their limits the thin line which led to the abyss of dementia. Hence, in Darren Aronofsky's film can talk openly about real triumph of the subjective, of successful digression on the self as we have seldom been seen in a movie theater.

Beautiful and disturbing, Black Swan opens his images with an ecstatic dance of the star, shot everything in sequence shot, in which the male figure takes demonic overtones planned throughout the story, and after that, insert the viewer in the fine art of the moving image, we see the protagonist talking to herself in a mirror, explaining the ups and downs of his dream.

What we see, therefore, is not an objective reality, if not perhaps a dream, an emotional tension in which the protagonist subjective reality to make it into art, to make it true. Because of that the film speaks of the need for sacrifice in pursuit of aesthetic perfection, of almost obligation to penetrate the dark recesses of the soul to get the exact representation, the disturbing case explosion of Art.

is where Aronofsky's film is distinguished from that of Polanski, despite their similar starting point. What in the Polish director's film is depicted almost as a documentary portrait of the mental gap that leads to self-destruction, the agony in Black Swan used to explore the space of aesthetic representation, investigating and in urgent need of flogging, mental masturbation of someone obsessed with his own art.

And for that, Aronofsky uses the appeal of the game of mirrors, without incurring repeated. What at first seems a power play within a dance company, which issues come into play as seduction or sex, ends up becoming almost a must own professional stage director, which requires the player to enter its intimacy obfuscated in visceral belly that allows represent the Evil Example
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height, Black Swan keeps its consistency from beginning to end. We do not see at any time the viewer that the protagonist goes, because that's not essential. Doing so would remove at once any hint of unreality, confusion, inner world.

What the film shows us is above all a portrait of the ego, with all its lights and shadows, with all its shortcomings and repression, it is precisely this ego that emerges from the darkness to illuminate a representation that what you see seem true. And that duality between appearance and authenticity, we find that dancer sacrificed, fearful of the world and man, who staggers between its objectives and mental health, forced almost to the dance is completely true. And she succeeds.