So many levels to this bad boy. One could, of course, argue that the primary goal of the film was to illustrate the pain behind ballet in an exaggerated and haunting way. However there were so many levels, the most prevalent and evasively effective in my opinion was the whole concept of “reflection”. Black Swan touched on this theme both visually and conceptually. A portion of the film was viewed through reflections, when Nina (Natalie Portman) danced the audience often viewed her via a reflection in a mirror or window, while the camera was focused on the ballet director, Thomas Leroy (Vincent Cassel) as he watched Nina. Then of course were the reflections interwoven into the story; first, Nina’s life was reflective of the ballet Swan Lake, a component foreshadowed within the first 20 minutes of the film -beginning with her dream that opens the film and Thomas Leroy’s very clear synopsis of the ballet. The rest of the film is guided by Nina’s subconscious and conscious fears reflected and exaggerated by her surroundings and the people that dictate her life. You often see Nina's fears reflected by the actions of her peers. I don't want to say too much because to spoil this plot would be very wrong.
I wouldn't be surprised or disappointed if Portman or Cassel earned some serious recognition from the academy on this one.I'm gonna end this with a cute picture of a puppy that I took:
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