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2010 American moving-picture show by Darren Aronofsky

Black Swan
The poster for the film shows Natalie Portman with white facial makeup, black-winged eye liner around bloodshot red eyes, and a jagged crystal tiara
Directed by Darren Aronofsky
Screenplay by
  • Marking Heyman
  • Andres Heinz
  • John McLaughlin
Story by Andres Heinz
Produced by
  • Mike Medavoy
  • Arnold W. Messer
  • Brian Oliver
  • Scott Franklin
Starring
  • Natalie Portman
  • Vincent Cassel
  • Mila Kunis
  • Barbara Hershey
  • Winona Ryder
Cinematography Matthew Libatique
Edited by Andrew Weisblum
Music past Clint Mansell

Production
companies
  • Cross Creek Pictures
  • Protozoa Pictures
  • Phoenix Pictures
  • Dune Entertainment
Distributed by Flim-flam Searchlight Pictures

Release dates
  • September 1, 2010 (2010-09-01) (Venice)
  • December 3, 2010 (2010-12-03) (United States)

Running time

 108 minutes[1]
Country United States
Linguistic communication English
Budget $13 meg[2]
Box office $329.4 million[3]

Blackness Swan is a 2010 American psychological thriller film directed by Darren Aronofsky. The screenplay was written past Marker Heyman, John McLaughlin, and Andres Heinz, based on an original story past Heinz. The film stars Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey, and Winona Ryder. The plot revolves around a production of Tchaikovsky's Swan Lake ballet by the New York Metropolis Ballet visitor. The production requires a ballerina to play the innocent and fragile White Swan, for which the committed dancer Nina Sayers (Portman) is a perfect fit, as well as the nighttime and sensual Black Swan, which are qualities better embodied by the new rival Lily (Kunis). Nina is overwhelmed by a feeling of immense pressure when she finds herself competing for the office, causing her to lose her tenuous grip on reality and descend into madness.

Aronofsky conceived the premise by connecting his viewings of a product of Swan Lake with an unrealized screenplay nigh understudies and the notion of being haunted by a double, like to the folklore surrounding doppelgängers. Aronofsky cites Fyodor Dostoevsky's The Double as another inspiration for the film. The director also considered Black Swan a companion piece to his 2008 film The Wrestler, with both films involving enervating performances for different kinds of art. He and Portman kickoff discussed the project in 2000, and after a cursory attachment to Universal Studios, Black Swan was produced in New York City in 2009 by Play a joke on Searchlight Pictures. Portman and Kunis trained in ballet for several months before filming began.

Black Swan premiered every bit the opening film for the 67th Venice International Film Festival on September 1, 2010. It had a limited release in the United States starting Dec iii, 2010 and opened in wide release on December 17. Upon its release, the film received critical acclaim with particular praise toward Aronofsky's direction and the performances of Portman and Kunis. It was a commercial success, grossing $330 million worldwide against a $13 million budget. The film received five nominations at the 83rd Academy Awards, including Best Picture, with Portman winning All-time Actress; and iv nominations at the 68th Gilded Globe Awards, including All-time Motion Picture – Drama, with Portman winning All-time Actress. In 2021, Portman'due south performance was included in The New Yorker 's list of all-time moving picture performances of the 21st century.[4]

Plot [edit]

Nina Sayers is a young woman who lives with her overprotective female parent, Erica, a former dancer, and dances with a New York Urban center ballet company. The company is opening the flavor with Tchaikovsky's Swan Lake. Later forcing prima ballerina Beth MacIntyre into retirement, artistic managing director Thomas Leroy announces he is looking for a new dancer for the dual roles of the innocent and delicate White Swan Odette and the sensual and dark Black Swan Odile. Nina auditions for the roles and gives a flawless rehearsal as Odette, simply fails to embody Odile.

The following twenty-four hour period, Nina asks Thomas to reconsider her role. When he forcibly kisses her, she bites him and runs out of his office. Later that day, Nina sees the bandage list and discovers to her surprise she has received the atomic number 82 roles. At a gala celebrating the new flavor, an intoxicated Beth accuses her of providing sexual favors to Thomas in render for a promotion. The following day, Nina hears Beth was hitting by a automobile. Thomas believes Beth was attempting suicide. Nina visits an unconscious Beth in the infirmary, and sees that her legs have been seriously injured, meaning that she volition not be able to perform as a ballet dancer once again.

During rehearsals, Thomas tells Nina to detect a newcomer, Lily, who has a physical resemblance to Nina only also an uninhibited quality Nina lacks. Nina suffers hallucinations and finds scratch marks on her back.

One dark, despite Erica'southward objection, Nina accepts Lily's invitation to go out for drinks. Lily offers Nina an ecstasy capsule, saying it would help her relax. Nina turns it down, just Lily spikes her drink with the powder. Nether its influence, Nina flirts with men at the bar and Lily as well. The two trip the light fantastic toe at a nightclub and render to Nina'southward apartment late that night. Later arguing with her mother, Nina barricades herself in her room and has sex with Lily. The next forenoon, she realizes that she is late for the dress rehearsal.

Upon arriving at Lincoln Center, Nina sees Lily dancing as Odile and confronts her about their night together. Lily denies going abode with Nina and taunts Nina for having a sexual fantasy about her. Nina becomes convinced Lily intends to take her identify, especially after learning that Thomas has fabricated Lily her alternate. Nina's hallucinations abound stronger and her injuries increment, going as far every bit hallucinating herself transforming into Odile. On opening night, she shouts to her mother,"I'm the swan queen, you're the one who never left the corps!", and she leaves. Equally Nina is late, Lily is prepared to replace her. Nina confronts Thomas, who is so impressed past her newfound confidence that he allows her to have back her roles.

Towards the finish of the ballet's second human activity, Nina is distracted by some other hallucination and loses her stability as Odette. This causes the male dancer playing the prince to driblet her on stage, which infuriates Thomas. She returns to her dressing room and finds Lily preparing as Odile. During a confrontation, Lily transforms into Nina. The 2 fight, breaking a mirror. Nina stabs her doppelgänger with a large shard of drinking glass from the mirror, killing her. The trunk reverts to Lily. Nina hides the corpse in the bathroom, and takes the stage, dancing flawlessly as Odile. Amidst a standing ovation from the audition, Nina surprises Thomas with a passionate buss and returns to her dressing room.

As Nina resumes the Odette tutu and white swan makeup, she hears a knock at her door. She opens it to discover Lily alive. Lily apologizes and congratulates her earlier taking her leave. Confused, Nina sees the mirror is nevertheless broken; simply the towel she used to mop up the claret is clean. She looks downwardly and pulls a slice of glass from her abdomen, realizing she stabbed herself— non Lily.

Nina dances the final act of the ballet, which ends with Odette throwing herself off a cliff and Nina landing on a mattress. The theater erupts in thunderous applause while Thomas, Lily, and the others gather to congratulate Nina, who remains lying on the mattress. Thomas sees the blood spreading at her waist and shouts for assist. He frantically asks Nina what happened to her. Nina calmly replies that she was perfect equally the screen fades to white.

Cast [edit]

During the closing credits, the major cast members are credited both as their moving-picture show characters as well equally their respective characters from Swan Lake.

  • Natalie Portman as Nina Sayers / White Swan / Odette
  • Mila Kunis as Lily / Blackness Swan / Odile
  • Vincent Cassel as Thomas Leroy / The Gentleman
  • Barbara Hershey as Erica Sayers / The Queen
  • Winona Ryder equally Elizabeth "Beth" MacIntyre / The Dying Swan
  • Benjamin Millepied equally David Moreau / Prince Siegfried
  • Ksenia Solo every bit Veronica / Little Swan
  • Kristina Anapau as Galina / Lilliputian Swan
  • Janet Montgomery as Madeline / Niggling Swan
  • Sebastian Stan as Andrew / Suitor
  • Toby Hemingway as Tom / Suitor
  • Sergio Torrado every bit Sergio / Von Rothbart
  • Marking Margolis every bit Mr. Fithian / Patron
  • Tina Sloan as Mrs. Fithian / Patron

Production [edit]

Conception [edit]

A photograph of a performance of Swan Lake during the third act, with the protagonist transformed into the Black Swan

The scene from the ballet Swan Lake in which the Black Swan (Odile) tricks and seduces the Prince

Darren Aronofsky showtime became interested in ballet when his sister studied trip the light fantastic toe at the Loftier School of Performing Arts in New York Metropolis. The basic idea for the film started when he hired screenwriters to rework a screenplay called The Understudy, which portrayed off-Broadway actors and explored the notion of beingness haunted by a double. Aronofsky said the screenplay had elements of All About Eve, Roman Polanski'due south The Tenant, and Fyodor Dostoyevsky'southward novella The Double. The managing director had also seen numerous productions of Swan Lake, and he connected the duality of the White Swan and the Black Swan to the script.[5] When researching for the production of Black Swan, Aronofsky institute ballet to be "a very insular world" whose dancers were "not impressed by movies". Regardless, the director institute active and inactive dancers to share their experiences with him. He also stood backstage to see the Bolshoi Ballet perform at the Lincoln Center for the Performing Arts.[6]

Aronofsky called Blackness Swan a companion piece to his previous film The Wrestler, recalling one of his early projects about a dearest affair between a wrestler and a ballerina. He eventually separated the wrestling and the ballet worlds as "likewise much for one motion-picture show". He compared the ii films: "Wrestling some consider the lowest art—if they would even telephone call information technology fine art—and ballet some people consider the highest art. Merely what was amazing to me was how similar the performers in both of these worlds are. They both make incredible apply of their bodies to express themselves."[6] About the psychological thriller nature of Black Swan, extra Natalie Portman compared the film's tone to Polanski'due south 1968 flick Rosemary'southward Baby,[vii] while Aronofsky said Polanski's Repulsion (1965) and The Tenant (1976) were "big influences" on the final moving-picture show.[6] Actor Vincent Cassel as well compared Black Swan to Polanski'southward early on works and additionally compared it to David Cronenberg's early works.[8]

Casting [edit]

Mila Kunis smiles in a black dress

Mila Kunis was commencement approached to perform in Black Swan in 2008.

Aronofsky first discussed with Portman the possibility of a ballet film in 2000, and he plant she was interested in playing a ballet dancer.[6] Portman explained being part of Black Swan, "I'm trying to discover roles that demand more adulthood from me because you lot tin get stuck in a very awful cute cycle as a woman in film, especially existence such a minor person."[9] Portman suggested to Aronofsky that her adept friend Mila Kunis would be perfect for the office. Kunis assorted Lily with Nina, "My character is very loose ... She's not equally technically good as Natalie'southward character, simply she has more than passion, naturally. That's what [Nina] lacks."[10] The female characters are directed in the Swan Lake production by Thomas Leroy, played past Cassel. He compared his character to George Balanchine, who co-founded New York City Ballet and was "a control freak, a true artist using sexuality to straight his dancers".[xi]

Portman and Kunis started training half dozen months earlier the start of filming in order to attain a torso blazon and muscle tone more similar to those of professional person dancers.[5] Portman worked out for five hours a day, doing ballet, cross-grooming, and swimming. A few months closer to filming, she began choreography training.[12] Kunis engaged in cardio and Pilates, "train[ing] vii days a week, five hours, for 5, six months total, and ... was put on a very strict diet of ane,200 calories a solar day." She lost 20 pounds from her normal weight of about 117 pounds, and reported that Portman "became smaller than I did."[13] Kunis said, "I did ballet every bit a kid similar every other child does ballet. Y'all wear a tutu and you stand on stage and you look cute and twirl. But this is very dissimilar because y'all can't simulated it. You tin can't just stay in there and like pretend you know what y'all're doing. Your whole body has to be structured differently."[xiv] Georgina Parkinson, a ballet mistress from the American Ballet Theatre (ABT), coached the actors in ballet.[15] ABT soloists Sarah Lane and Maria Riccetto served as "trip the light fantastic toe doubles" for Portman and Kunis respectively.[xvi] Dancer Kimberly Prosa also served as a double for Portman. She stated: "Natalie took class, she studied for several months, from the waist upward is her. Sarah Lane, a soloist at ABT, did the heavy tricks, she did the fouettés, only they only had her for a limited time, a couple of weeks, so I did the residuum of whatever trip the light fantastic toe shots they needed."[17]

In add-on to the soloist performances, members of the Pennsylvania Ballet were cast equally the corps de ballet, properties for the main actors' performances.[5] Besides appearing in the film are Kristina Anapau,[18] Toby Hemingway,[19] Sebastian Stan,[twenty] and Janet Montgomery.[21]

Development and filming [edit]

A three-quarters view of a large grey building—the State University of New York at Purchase Performing Arts Center

Aronofsky and Portman first discussed a ballet motion picture in 2000, after the release of Requiem for a Dream, though the script had non yet been written.[half dozen] He told her most a love scene between competing ballet dancers, and Portman recalled, "I thought that was very interesting because this motion-picture show is in so many ways an exploration of an artist's ego and that egotistic sort of attraction to yourself and also repulsion with yourself."[22] On the decade's look before product, she said, "The fact that I had spent so much time with the idea ... immune it to marinate a little before we shot."[23]

The screenplay The Understudy was written by Andres Heinz; Aronofsky first heard near information technology while editing his second film Requiem for a Dream (2000) and described it as "All Almost Eve with a double, set in the off-Broadway world." Later making The Fountain (2006), Aronofsky and producer Mike Medavoy had screenwriter John McLaughlin rewrite The Understudy; Aronofsky said McLaughlin "took my idea of Swan Lake and the ballet and put [the story] into the ballet earth and changed the title to Black Swan."[24] When Aronofsky proposed a detailed outline of Blackness Swan to Universal Pictures, the studio decided to fast-track development of the projection in January 2007.[25] The project "sort of died, once more" according to Aronofsky, until afterwards the making of The Wrestler (2008), when he had Marker Heyman, manager of evolution of Aronofsky's production company Protozoa Pictures, write for Black Swan "and made it something that was workable."[24] By June 2009, Universal had placed the project in turnaround, generating attending from other studios and specialty divisions, specially with actress Portman attached to star.[26] Black Swan began evolution under Protozoa Pictures and Overnight Productions, the latter financing the film. In July 2009, Kunis was cast.[27]

Fox Searchlight Pictures distributed Blackness Swan and gave the film a production budget of $10–12 million. Chief photography was accomplished using Super 16 mm cameras and began in New York Metropolis toward the end of 2009.[28] [29] Role of filming took place at the Performing Arts Center at State University of New York at Purchase.[5] Aronofsky filmed Black Swan with a muted palette and a grainy style, which he intended to exist similar to The Wrestler.[xxx] Aronofsky said:

I like Super 16 because the cameras are actually light, really moveable. Likewise, for The Wrestler it was a money-saving matter. The movie stocks on 35mm would go then glossy that they'd go shut to what people are doing on video. I wanted to become back to the grainy, vérité feel of The Wrestler ... Like with wrestling, ballet is shot in broad shot with two shots on the side, and no one really brought the photographic camera—well, wrestling—into the ring or for us, onto the stage and into the practice room. I actually wanted the camera to dance, but I was nervous about shooting a psychological thriller/horror film with a hand-held photographic camera. I couldn't call up of another case where they did that ... steady-cams are very unlike than hand-helds, because manus-held gives you that verite feel. I was concerned if that would impact the suspense, but after a while I said, "screw it, let's get for it.[24]

Cinematographer Matthew Libatique shot the film on 16mm film.[31]

Musical soundtrack [edit]

The non-original music featured in Blackness Swan consists of music past Tchaikovsky featuring performances on-screen and in the soundtrack by violinist Tim Fain[32] and a runway of electronica dance music past English production duo The Chemical Brothers. Information technology marks the fifth consecutive collaboration between Aronofsky and English composer Clint Mansell, who composed the original score for the flick. Mansell attempted to score the flick based on Tchaikovsky's ballet[33] only with radical changes to the music.[34] Because of the utilise of Tchaikovsky'due south music, the score was deemed ineligible to exist entered into the 2010 Academy Awards for Best Original Score.[35]

The Chemical Brothers' music, which is featured prominently during the club scene in Black Swan, is omitted from the soundtrack album.[36]

Release [edit]

Natalie Portman looks to the camera's left, smiling

Black Swan had its world premiere as the opening film at the 67th Venice Picture show Festival on September i, 2010. It received a standing ovation whose length Variety said made it "one of the strongest Venice openers in recent retentivity".[37] The festival's artistic director Marco Mueller had chosen Black Swan over The American (starring George Clooney) for opening moving-picture show, saying, "[It] was only a better fit ... Clooney is a wonderful player, and he will always be welcome in Venice. But it was as elementary every bit that."[38] Black Swan screened in competition and is the third consecutive picture show directed by Aronofsky to premiere at the festival, following The Fountain and The Wrestler.[39] Black Swan was presented in a sneak screening at the Telluride Film Festival on September v, 2010.[40] Information technology also had a Gala screening at the 35th Toronto International Moving picture Festival later in the month.[41] [42] In October 2010, Black Swan was screened at the New Orleans Movie Festival,[43] the Austin Film Festival,[44] and the BFI London Motion-picture show Festival.[45] In November 2010, the movie was screened at American Film Plant'south AFI Fest in Los Angeles, the Denver Motion-picture show Festival and Camerimage Festival in Bydgoszcz, Poland.[46]

The release of Black Swan in the United Kingdom was brought frontwards from Feb 11 to January 21, 2011. According to The Contained, the moving picture was considered ane of "the virtually highly anticipated" films of late 2010. The newspaper and so compared information technology to the 1948 ballet film The Blood-red Shoes in having "a nightmarish quality ... of a dancer consumed by her desire to trip the light fantastic".[47]

Box office [edit]

Blackness Swan had a limited release in select cities in Due north America on December three, 2010, in 18 theaters[48] and was a surprise box office success.[49] The moving-picture show took in a total of $415,822 on its opening twenty-four hour period, averaging $23,101 per theater.[50] By the end of its opening weekend it grossed $1,443,809—$80,212 per theater. The per location average was the 2nd highest for the opening weekend of 2010 backside The Rex'due south Voice communication.[51] The motion-picture show is Fox Searchlight Pictures' highest per-theater average gross ever, and it ranks 21st on the best list.[52] On its second weekend the movie expanded to 90 theaters, and grossed $3.iii meg, ranking it as the sixth film at the box-office.[53] In its 3rd weekend, it expanded once again to 959 theaters and grossed $8,383,479. The film went on to gross over $106 million in the U.s.a. and over $329 million worldwide.[three]

Home media [edit]

The film was released on DVD and Blu-ray Disc in Region 1/Region A on March 29, 2011.[54] The Region ii/Region B version was released on May 16, 2011.

Reception [edit]

Critical response [edit]

Scott Franklin, Mila Kunis, Vincent Cassel, Darren Aronofsky, and Sandra Hebron stand on a stage with a golden curtain backdrop wearing formal attire and discussing Black Swan

Black Swan cast and crew (from left to right: producer Scott Franklin, actress Mila Kunis, actor Vincent Cassel, director Darren Aronofsky) discuss the picture with Sandra Hebron at the BFI London Flick Festival, where it was nominated for Best Film

Review aggregator Rotten Tomatoes gives the picture an approving rating of 85% based on 313 reviews, and an boilerplate rating of 8.20/10. The website's critical consensus reads, "Bracingly intense, passionate, and wildly melodramatic, Blackness Swan glides on Darren Aronofsky's bold direction—and a bravura performance from Natalie Portman."[55] At Metacritic, which assigns a weighted average score out to reviews, the film received an average score of 79 out of 100, based on 42 critics, indicating "generally favorable reviews".[56]

In September 2010, Entertainment Weekly reported that based on reviews from the moving-picture show's screening at the Venice Film Festival, "[Black Swan] is already prepare to be one of the yr's most dear-it-or-hate-it movies."[57] Leonard Maltin, on his blog Movie Crazy, admitted that he "couldn't stand up" the pic, despite praising Natalie Portman's performance.[58] Reuters described the early on response to the film as "largely positive" with Portman's functioning being highly praised.[59] The Sydney Morning Herald reported that "the film divided critics. Some found its theatricality maddening, but most declared themselves 'swept away'."[60]

Kurt Loder of Reason mag called the pic "wonderfully creepy", and wrote that "information technology'southward not entirely satisfying; but information technology'southward infused with the director'south usual artistic brio, and it has a neat dark gleaming await."[61] Mike Goodridge from Screen Daily called Black Swan "alternately disturbing and exhilarating" and described the motion-picture show as a hybrid of The Turning Point and Polanski's films Repulsion and Rosemary'southward Baby. Goodridge described Portman'south performance, "[She] is captivating as Nina ... she captures the confusion of a repressed immature woman thrown into a world of danger and temptation with frightening veracity." The critic also commended Cassel, Kunis, and Hershey in their supporting roles, especially comparing Hershey to Ruth Gordon in the part of "the desperate, jealous mother". Goodridge praised Libatique's cinematography with the dance scenes and the psychologically "unnerving" scenes: "It's a mesmerising psychological ride that builds to a gloriously theatrical tragic finale as Nina attempts to deliver the perfect performance."[62]

A line outside the entrance to the 2010 Venice International Film Festival with flags of several countries waving above the door

Black Swan opened at the 67th Venice International Flick Festival, making it the third consecutive Aronofsky picture to be screened at the ceremony. It was nominated for the Aureate Lion and Mila Kunis won the Marcello Mastroianni Award.

Kirk Honeycutt of The Hollywood Reporter gave the moving-picture show a mixed review. He wrote, "[Black Swan] is an instant guilty pleasure, a gorgeously shot, visually complex film whose badness is what'southward so good nigh information technology. 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." Honeycutt commended Millepied'south "sumptuous" choreography and Libatique'due south "darting, weaving" camera work. The critic said of the thematic mashup, "Aronofsky ... never succeeds in wedding genre elements to the world of ballet ... White Swan/Black Swan dynamics almost piece of work, merely the horror-motion picture nonsense drags everything downward the rabbit hole of preposterousness."[63] Similarly, in a slice for The Huffington Mail service, Rob Kirkpatrick praised Portman's operation simply compared the film's story to that of Showgirls (1995) and Burlesque (2010) while concluding Black Swan is "simply higher-priced cheese, Aronofsky's camembert to [Burlesque director Steve] Antin'due south cheddar.[64] Vulture's Kyle Buchanan also noted the similarities of the flick'due south plot to the widely derided Showgirls, and said that the director Darren Aronofsky "owes a feather-tip to Paul Verhoeven'due south exploitation classic more than [he] might exist willing to admit".[65]

The picture show has been criticized for its portrayal of ballet and ballet dancers. Upon the movie's release in the Great britain, The Guardian interviewed iv professional ballet dancers in the UK: Tamara Rojo, Lauren Cuthbertson, Edward Watson, and Elena Glurjidze. Rojo called the moving-picture show "lazy ... featuring every ballet cliche going." Watson felt that the movie "makes [ballet] look then naff and laughable. It doesn't show why ballet is so important to us – why nosotros would desire to try and then hard."[66] The Canadian Press also reported that many Canadian ballet dancers felt that the film depicted dancers negatively and exaggerated elements of their lives only gave Portman loftier marks for her dance technique.[67] In an interview with the Los Angeles Times, Gillian Spud, a principal dancer with American Ballet Theatre praised the visual elements of the film but noted that the picture show presentation of the ballet world was "extreme."[68]

Controversies [edit]

Several critics noted striking similarities between Satoshi Kon's 1997 anime movie Perfect Blueish and Aronofsky'south Black Swan.[69] [lxx] In response to comparisons betwixt Perfect Blue and Black Swan, Aronofsky best-selling the similarities in 2010, but denied that Blackness Swan was inspired by Perfect Blue.[69] Kon noted in his blog that he had met with Aronofsky in 2001.[70]

Costume design [edit]

Amy Westcott is credited as the costume designer and received several award nominations. A publicized controversy arose regarding the question of who had designed xl ballet costumes for Portman and the dancers. An article in the British newspaper The Contained suggested those costumes had actually been created by Rodarte'southward Kate and Laura Mulleavy.[71] Westcott challenged that view and stated that in all just seven costumes, among them the Black and White Swan, had been created in a collaboration between Rodarte, Westcott, and Aronofsky. Furthermore, the corps ballet's costumes were designed by Zack Brown (for the American Ballet Theatre), and slightly adjusted by Westcott and her costume pattern department. Westcott said: "Controversy is too complimentary a word for ii people using their considerable cocky-publicising resources to loudly complain about their credit once they realized how skillful the movie is."[72]

Dance double [edit]

ABT dancer Sarah Lane served as a "trip the light fantastic toe double" for Portman in the film.[16] In a March iii blog entry for Dance Magazine, editor-in-chief Wendy Perron asked: "Practise people really believe that it takes only one twelvemonth to make a ballerina? We know that Natalie Portman studied ballet every bit a kid and had a year of intensive grooming for the movie, but that doesn't add together up to being a ballerina. However, it seems that many people believe that Portman did her own dancing in Black Swan."[73] [74] This led to responses from Benjamin Millepied and Aronofsky, who both defended Portman, as well as a response from Lane claiming that she has not been given due credit.[75] [76]

Accolades and awards [edit]

Black Swan appeared on many critics' height ten lists of 2010 and is frequently considered to exist 1 of the best films of the yr.[77] Information technology was featured on the American Film Institute's 10 Movies of the Yr.[78] On January 25, 2011 the film was nominated for five Academy Awards (Best Picture, Best Director, Best Extra, Best Cinematography and Best Film Editing) and won one for Portman's functioning.[79]

References [edit]

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External links [edit]

  • Official website Edit this at Wikidata
  • Black Swan at IMDb
  • Blackness Swan at AllMovie

thackertreff1945.blogspot.com

Source: https://en.wikipedia.org/wiki/Black_Swan_(film)

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