Roman писал(а):Надеюсь, Арофонски не заставит Портман сверлить себе голову.
Aronofsky seems to be operating more in the vein of early Roman Polanski or David Cronenberg at his most operatic.” … “A wicked, sexy and ultimately devastating study of a young dancer’s all-consuming ambition,” … “Aronofsky and costume designer Amy Westcott are none too subtle with the film’s symbolism, dressing Nina in innocent white outfits while those around her wear darker and considerably more ominous colors. These exaggerated stylistic choices (somewhat at odds with Aronofsky’s documentary-like sense of detail and Matthew Libatique’s handheld shooting style) extend to the production design as well, adding yet another motif: Reflective surfaces, mostly mirrors, offer fleeting glimpses of Nina’s other half.” … “Coupled with Clint Mansell’s score, which expands upon Tchaikovsky’s original “Swan Lake” compositions to suggest something considerably more macabre (further aided by proper horror-movie sound design), the result is an unsettling yet ultimately intuitive blend of classical and contempo techniques.
Trying to coax a horror-thriller out of the world of ballet doesn’t begin to work for Darren Aronofsky.” … “The movie is so damn out-there in every way that you can’t help admiring Aronofsky for daring to be so very, very absurd.” … n instant guilty pleasure, a gorgeously shot, visually complex film whose badness is what’s so good about it. You might howl at the sheer audacity of mixing mental illness with the body-fatiguing, mind-numbing rigors of ballet, but its lurid imagery and a hellcat competition between two rival dancers is pretty irresistible. Certain to divide audiences, “Swan” won’t lack for controversy.” … “Portman, who has danced but is no ballerina, does a more than credible job in the big dance numbers and the tough rehearsals that are so essential to the film. In her acting, too, you sense she has bravely ventured out of her comfort zone to play a character slowly losing sight of herself. It’s a bravura performance.” … “Kunis makes a perfect alternate to Portman, equally as lithe and dark but a smirk of self-assurance in place of Portman’s wide-eyed fearfulness. Indeed, White Swan/Black Swan dynamics almost work, but the horror-movie nonsense drags everything down the rabbit hole of preposterousness.
Darren Aronofsky soars to new heights with Black Swan, an enthralling drama set in the competitive world of ballet. Alternately disturbing and exhilarating, this dark study of a mentally fragile performer derailed by her obsession with perfection is one of the most exciting films to come out of the Hollywood system this year.” … “a bold display of cinematic fireworks that will leave audiences breathless.” … “If you can imagine The Turning Point run through with the psychological disturbia of Repulsion or Rosemary’s Baby, you get the gist of Black Swan.” … “Portman is captivating” … “she captures the confusion of a repressed young woman thrown into a world of danger and temptation with frightening veracity.” … “Aronofsky and his faithful DP Matthew Libatique work wonders with the dance sequences, bringing them to life through ingenious and diverse camera movements, while keeping Nina’s off-stage life grainy, hand-held and claustrophobic.
BLACK SWAN (A-) How to even tweet this? Aronofsky extends The Wrestler’s fascination with physically broken performers to the psychological. Results are at once florid and fine-cut; dances thrillingly on the border of trash before a sharp left into modern fairytale. Having said that, I can imagine a lot of people disagreeing.
VENICE 2010: Aronoksky’s Black Swan is en pointe as an unforgettable portrait on the madness of perfection. Natalie Portman is devastating.
Swan Lake not only serves as the production inside the film, but the film itself is essentially a big screen adaptation of Swan Lake. The characters in the film are dramatic versions of the characters in the 1877 ballet, and the story mirrors the storyline of the stage production in many ways (and probably even makes more sense of the fairytale). Even Clint Mansell’s fantastic score is a cinematic horror adaptation of Pyotr Ilyich Tchaikovsky’s compositions. It is unlike anything Mansell has ever done before, and I can’t wait to hear it again.
Black Swan is also the most erotic American film I’ve seen in years. Portman’s character Nina is sexually repressed, and her director Thomas (played by Vincent Cassell) is trying to turn Nina’s frigid dancing into something more seductive. Yes, there is masturbation, the much talked about sex scene between Portman and co-star Mila Kunis and a fair share of physical groping. The old lady to my right gasped at least a dozen times. She covered her eyes during the sex sequences, and groaned in disgust at the gore.
Oh, did I mention this is a horror film? The disturbing imagery spans the gamut of scratches, cuts, bloody puncture wounds, to demonic transformations. There are genuine, jump out of your seat scares. Paintings come to life, and tattoos become animated. Aronofsky cleverly balances the crazy happenings with a heavy chunk of realism. The doc-style handheld cinematography, authentic performances and heavily researched details, make the horrific imagery that more horrific.
Read more: Telluride Review: Darren Aronofsky’s Black Swan | /Film http://www.slashfilm.com/2010/09/06/tel ... z0yloRTR9V
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