Written by: Mark Heyman, Andres Heinz & John McLaughlin
On its surface, Black Swan depicts the burdens of ballet (some might argue the clichés?): the competitiveness, the sexual aggression, the controlling stage moms, the infantilized adults. But Aronofsky seems more interested in female performers in general, fashioning a kind of dude-feminist critique of an industry that demands impossible perfection of women—of their bodies, of their talents—to the point that it drives them to suicide after it makes them crazy: thus, the way reality slowly slips away from Portman, her hallucinations of a deteriorating body. It also gives the movie a metacinematic dimension: is Black Swan also about how Winona Ryder’s career got stolen from her? Or Barbara Hershey’s, for that matter?Keep reading my conversation with Benjamin Sutton at The L Magazine
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