There are several public to consider. First the fan community that has developed out of
Pi, confirmed with
Requiem for a dream , seething with impatience and tramples since the project started
Black Swan, as expected new masterpiece, yes, but primarily as the link between the two sides of Aronofsky: playwright fond of introspection fantastic and metaphorical
The Fountain, and the great portraitist of Pi
and
The Wrestler . Followed dissidents, who have called him a genius with
Requiem ... then divorced
The Fountain, too romantic, too literally. Then there are newcomers who have discovered thanks to Aronofsky's Golden Lion he won with
The Wrestler. Audiences on the edge because of the affection for the character played by Rourke, despite some brutal scenes in the wrestling, there is not much in
Black Swan that household never his heroine, yet so vulnerable at first. There will finish the curious (or skeptical!), Attracted by the cast, the haunting presence Natalie Portman on a French poster subtle (perhaps too) or at least less vehement than the U.S.
displays, or that of Vincent Cassel, the local stage. Or attracted by the subject, revolving around the ballet, or when the fantastic side outlined in the trailer. This audience will split into two, ex officio, who will love or hate.
Where am I up? Unfortunately in the first category. Not that I lose all objectivity due to the excellent Darren Aronofsky movie realizes this, but I have a few strands of regret at the thought of not being able to discover
Black Swan neutral with respect a spectator, certainly hard, why not film buff, but not as partisan and imbued his vision than I already am. However, it allows me to express to you all modesty that
Black Swan may well patch up the first two categories ... Less than calmly
The Wrestler, his project the less personal and yet more human, but more subtly than its predecessors, it manages to navigate his camera from capturing the conscious, subconscious and simple kinematics with some ease and a genius of the frame. I let you follow this link
to discover what says Nicolas on his excellent blog
Filmosphère . But if Darren Aronofsky is undoubtedly a genius of the staging and images, it is also one of the best directors of actors in business. Just see how Sean Gullette Hugh Jackman, he managed to extricate the grace of his performers. Here, Natalie Portman is literally magnified, extolled. She excels from start to finish, it does not interpret the character, the character she is, just as the heroine of the film shuffles his fate with that of the Swan Queen of the work of Tchaikovsky. In its slow march towards what will be an explosion, or rather the final implosion implement a labyrinthine, multi-referenced, the actress is full of ardor, as well as search in vain for his character. Impossible not to see
Black Swan vision sixty-plus-years later, revealed at the time by Michael Powell and Emeric Pressburger in
The Red Shoes, a horribly heavy artistic world, who as a student crushes the spirits and bodies. More from Aronofsky, the inner struggle is more exhausting, when addressing the mental balance of a young woman lost in conflicting emotions and crushed by a claustrophobic relationship with the mother. However, reaching to
not the heights of great beauty and romantic
The Fountain, Darren Aronofsky certainly sign her second master piece, managing to navigate between genres without spoiling, making sure the transition to sublimate both
The Lake Tchaikovsky's Swan and the aura of an actress too often considered fragile, in a powerful crescendo destructive. It surrenders to the experience and it emerges bruised but happy.
If 
