Some believed, or hoped, would become an artist qu'Aronofsky fallen and no future after the failure of both critical and commercial The Fountain in 2006. The film, which should see Aronofsky push aesthetic and logical screenplay already proven in Pi and Requiem For A Dream to their limits, and certainly beyond their inherent limitations, was lynched, more or less precisely, by a whole section of specialists seeing a chance to get a talent and buried a career.
What they certainly did not foresee, is the force of renewal has been able to provide the American director. It proved capable of turning his back on his ultra polished aesthetic, under certain habits (to adopt others), to a certain visual overkill that stifled perhaps the dramatic force of his previous album.
Thus, The Wrestler was a shock for fans of Aronofsky. Soaked in culture (film) rocked by the European and American independent cinema, swaying between Cassavetes and the naturalism of Dardenne film, which also sees the resurrection of Mickey Rourke quality, marks a milestone in the filmmaker's aesthetic philosophy.
Black Swan is a direct continuation of this previous work and takes even a few basic elements. It follows by the lapse of a being (physical The Wrestler , psychological Black Swan) which saw the peaks in disregard of his health, his life and others. Black Swan is the story of a dancer who, in the twilight of his career is finally offering the lead role of a ballet. But this role, demanding, difficult and not without further efforts. Consumed by his desire to succeed and the complexity of the character she has embodied (or rather the characters, the white swan and black swan), the young woman collapses into hysteria and paranoia.
Aronofsky's film is fascinating that no one knows where we must start playing as his subject and his staging abound and sweat of an intelligence and a fine mastery of excess. This is one of the main themes of the film. First by the particularly archetypal characters who inhabit it. Women are swollen tares Freudian customary to them, lesbianism and hysteria, while men are afflicted with a bestial virility and inconsistent. Yet this does not shock the contrary, it subjugates.
qu'Aronofsky because then leads her heroine on the edge of madness. Natalie Portman, who is certainly is one of its most major roles, navigating in a latent perdition, in which a voltage switch, which capsized before rush with violence in a sordid and hallucinatory paranoid.
Film about the ruthless world of dance, but also on the madness movie pass. Portman epitomizes this young woman child haunted by a tyrannical mother who kept prisoner in a sordid world of children. His role, a new dancer, question this world and confined the girl discovers woman, attractive, sexual ...
Of all these excesses Aronofsky pulls a film incredibly enjoyable and black, suffering on edge skin gradually abandoned the thriller to rush on the trail, even more squalid, fantasy and horror. And then we come back, more terrifying than ever, images of Repulsion Polanski.
We still salute the performance of Winona Ryder, unrecognizable, twirling the camera of the filmmaker who gratifies us two memorable dance sequences, an opening and closing. And they devour endless frantic quest for perfection, quirky and murky, full of symbols and rituals borrowed from paganism ultimately the most erotic to create a mystical madness of rare intensity.
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