Black Swan of Darren Aronofsky is a bit of Cronenberg for Dummies. For those who do not understand Cronenberg, or who claim to be "destabilized" is perfect. Everything is there: the metamorphosis, the body under strain, reports of violence and domination between humans, sequences of terror. And Darren Aronofsky is quite talented, technically qualified to perform such a thing (the dance sequences in their motion capture even if the dance is really awful, are breathtaking). At the same time he misses a trick: the sequences of terror, for example, rather than additive to produce terror, cancel. Because between fantasy and reality, the filmmaker does not change system images.
Darren Aronofsky's fantasy fantasy. Lynchian under-or meta-Lynchian is not clear. But without humor. The prevailing spirit of seriousness: what counts is the virtuosity. Stiffness ensured even in the best laid plans trembling. Yet the fact woutch lipstick when you open it, and throw teddy bears pink in the trash. Not that Darren Aronofsky believes in pink teddy bear, but he believes people will believe. Him, detached from everything (in his film to $ 10 million he manages to make fun of the choreographers who organize social gatherings for their wheat harvest toc next crust), almost not there, it soars, it is over, and he gives us to eat what he understands what we eat: girls fucking lack of a leash held by their mothers, undreamed of lesbians, the bitter labor psycho who seek the darkness to give a little value to their prowess (= dark sexuality, it goes without saying).
Yet in the film, there's an irony. But the irony is not a point of view, it is a mechanical demiurge is not an expression of personal feeling, only to laugh before the audience to be bandaged. The filmmaker pushes up the scene where Natalie Portman will crack his pants, and when she ends up cracking more about being funny, everything changes.
syndrome is a good student. Aronofsky to reward himself (he does not even wait the Oscars), covering his name on a thunderous applause. After we talk about the megalomania of Lars von Trier, not enthusiast.
I thought during the film, Natalie Portman. At doses of impressive colyre she had to put in the eye for all the time seem to be on the verge of tears. Not without a plan excitement. I wondered what she looked like between takes. If she stayed in the state, or if she ate a kebab quietly waiting to be called for the next shot. I felt sorry for her (not much, but still a few): all that she felt compelled to do for this role, I was overwhelmed. And that's where the film becomes sinister and disturbing at the same time it offers a variation on the difficulties of being a ballet dancer, it imposes the same difficulties to an actress in search of recognition.
Aronofsky provides the equivalent film The Farm of Celebrities . Danielle Evenou has milked a cow, earns 1,000 euros to Doctors Without Borders, and then returned to sell his fake jewelry. Who saw Mickey Rourke in The Wrestler movie after ? He cachetonné for The Expendables, then returned to binge of amphetamines on the West Coast. Natalie Portman, she will win the Oscar without doubt, then end up crying in her room reading the scripts sent to him distressing since she was 8 years old and she touched the penis of Jean Reno.
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