Cisne negro

A este film ya se le ha escrito tanto y seguramente se seguirá escribiendo, que uno podría repetirse. Para mí "Cisne Negro" representa una gran contribución al cine mundial, al menos por el entorno elegido - aprecio la valentía del director de situar la historia entre bailarinas, ya que vamos a ser sinceros - solo en la República Checa, ¿cuántos ciudadanos mayores de dieciocho años se interesan por el ballet o al menos van al teatro una vez al año? Debo admitir que a mí me gusta mucho ir al teatro, pero prefiero el teatro dramático y la ópera, el ballet también se encuentra en un plano secundario para mí, pero eso no me excusa. Tenía prejuicios con respecto a V. Cassel, aunque es un actor que me gusta, para mí es el mejor en papeles de villanos y antagonistas locos. Me sorprendió aún más que haya dominado este papel brillantemente. No soy muy fan de Mila Kunis, pero se ajustó perfectamente a la bailarina inmediata y trastornada. Winona Ryder ha sido una de mis actrices favoritas durante varios años, me entristece que actualmente solo le ofrezcan papeles secundarios de segunda categoría. Y finalmente, Natalie Portman ofrece una actuación realmente asombrosa, por la cual sin duda merece algún reconocimiento. No es necesario agregar más sobre la maravillosa música, en resumen, el final del año 2010 trajo una excelente película que seguramente encontrará su lugar en la historia. (01.01.2011)

An unexciting attempt at psychologically sophisticated art. Slightly irritating in places, unconventional thanks the interesting ballet setting, but an attempt nevertheless. Someone should tell Aronofsky that he is not the Kubrick of the 21st century. I admire the difficulty of ballet as an art, as well as Tchaikovsky's magical music, but this film is so empty and uses so many horror tropes that it's maddening. Hype of the year. PS: If it wasn't for Natalie Portman, who put so much effort into her role, I'd go even lower with the rating. (25.12.2010)

You can stone me, but Aronofsky is repeating himself for the third time and it's getting old. Although he once again emphasizes the physicality and the decay of the soul and body, the film lacks any sort of more prominent moment that I haven't seen from him before. The lacerated fingers do hurt, but what I saw here was more so pseudo-art, where he gracefully tiptoes around but doesn't get to the core even once. The metamorphoses at the end amused me unintentionally rather than making me feel any kind of gradation or even catharsis. However, I can understand the standing ovation the film receives. (26.12.2010)

Although Black Swan appears to be made from the same dough as The Wrestler, it is only half true. Yes, it fits quite well superficially - the concept is actually similar, intimate body camera, ruthless details, long tracking shots, scenes of mutilation in the name of foolish desire (again, it is a desire expressed by roaring crowds). But it cannot be overlooked that in one important respect, Black Swan is antithetical to The Wrestler. While The Wrestler was a film where the inside of the hero remained hidden and it was a documentary record of gradual doom, in Black Swan everything is outward, the pain is written into horror expressive scenes, the heroine's psychoses are "Freudian" amplified and accentuated by various dreamlike chimeras. Everything inside happens on the outside at the same time, and the viewer is trapped in the snares of an unreliable storyteller. Where reality ends and Nina's fantastical projection begins is sometimes difficult to decipher. Some of the scenes are suspiciously conventional (you can see it well in all the horror jump scares and phantoms) and I couldn't shake the impression that for the mutating surface, Aronofsky missed what was not visible in The Wrestler, yet was physically felt - an intimate plane of pain "out of desire" leading to the final grand gesture of self-destruction. Black Swan is essentially ancient during the ending, but it didn't affect me nearly as much as Randy's last “ram-jam". Everything is in place here (a famous camera, a devastating Natalie and a magnificent musical accompaniment), yet ecstasy did not come. I think Aronofsky was able to go deeper in the past without theatrical props. (17.01.2011)

After the solid but not entirely satisfactory Wrestler, Aronofsky consolidates his position among my most favourite directors. The first hour of Black Swan is pretty similar to Wrestler – we follow very closely (almost intimately) one person at a turning point of their lives, we feel their emotions and every one of their injuries. This is not always very pleasant, Aronofsky knows how to transmit pain from the screen to the viewer like few others. This “introduction” would already be enough for four stars, but the last half hour shattered, disarmed and decimated me; utterly so. I felt a constant chill on my back and I shivered like an aspen tree; my eyes an ears were unable to perceive anything but the film. No other film this year has made me feel like this. 100 % (22.12.2010)