Darren Aronofsky has built its theater on paths cross. Like those of his cousin Lars Von Trier's films are fascinated by the tortured figures. Suffering, physical and psychological, is their ultimate goal. The last ordeal of the author of The Fountain , Black Swan, is no stranger to sadism bourgeois filmmaker. It is the acme of its subject and its treatment of a world of suffering, it is a necessity, an obligation, a rite of passage. Natalie Portman, perfectionist ballerina living under the influence of a neurotic mother more than Carrie, became the latest victim of the filmmaker. An easy, obvious, and much easier to put under his control as the actress gives a whole, volunteer, the maneuvers of its director and cruel maniac. Yet Aronosky is not a killer, as could be Lang, but a ripper, a executioner bright-eyed, tracing the trajectories heavy (image, meaning, psychology, postmodernism), wielding his staging chisel, with the bombast of those hoping to make up their limits by a false intellectual ambition and style, when it does not rely entirely on recycling and shortcuts, Extension that denies itself.
Traumatized by the work of trainer and claustrophobic Dardenne, author of Pi decal, even after The Wrestler, the method developed by the Belgians. Faute de mieux, or laziness, convenience, and frustration, twirls his camera filming thoroughly bruised flesh of his actress whose fate is comparable to the one that Lars Von Trier was doing to Nicole Kidman in Dogville . If we can understand the enjoyment that drives Aronofsky film the body of a ballerina in sublimating the pain of hard work (out of all the dancers out), this policy of torture leaving no loophole to his character if not death as an outcome remains ideologically abject like Mickey Rourke in The Wrestler maintained the illusion of its glory, preferring to continue with the assurance of soon leaving his skin on a ring (the new life with his new wife is finally refused) Natalie Portman must commit suicide to be perfect and accomplished. In Aronofsky, narcissism, obsession, the merger (whether with mathematics, drugs, wrestling or dance) are fatal alienation: the essential reasons not pushing an individual to death, by excessive investment sick, but the pain, agony, agony, show them, make them suffer, to enjoy their staging. No possible redemption, no real love, no other film of Aronofsky is one of self-destruction and loneliness, not as intuitive or even revelation, but punishment.
This is perhaps the classic tragedy of the trenches and lines on which the filmmaker wants to rest to make Black Swan a rereading cross-gender and cross referenced (Dardenne, Argento, Polanski, De Palma, Veroheven stand awkwardly by hand). But the author of Requiem for a Dream is not European, he remains an American upset, hoping to legitimize his small scenes of torture against a public bluffed and anesthetized by his paths cross with that flirting virtuosos Mel Gibson or any bad Korean melodrama. For we must carefully observe the eagerness with which Aronofsky demolishes Natalie Portman girl mom fragile, anorexic, unbalanced, obviously frigid ( Black Swan is a medley of clichés), the filmmaker grows in lust, or rather his own idea, bourgeois, and whose ultimate s illustrated in a Sapphic relationship that will be a dream. People will say, or objectives, the need of the character based on the illustration / transposition of Swan Lake, staged through a sick body, simultaneously pushed the gray areas that live and that it helps to reveal and tainted by his character to madness. This narrative logic or aesthetics (image continues to strengthen the discomfort Loved suffocating close-ups, mental images of gore, enclosed spaces and hyper anxiety) do not save yet Aronofsky of his poor little mechanical bataillenne. She has no other purpose, true, that personal fascination and spectacular for pain. A vulgar fascination, or even bastard, never critical or transcendent, based on archetypes that, if they want a reinterpretation of the ballet (as a representation of reality and representation), did emerge as gravity and not grace.
The feat of Aronofsky also assumed, and probably, the virtuoso combination of realism with the fantastic Belgian Alpine, something also of the Czech expressionism. It appears that none of shaky cameras, gasping references referring to the filmmaker's impotence. Maybe too excited by the idea, so perverse and subversive, is it suppose to shoot Natalie Portman masturbating (on the advice of Kassel, asking it to release to know the yang of his character), Aronofsky does documented fact that his libido as a filmmaker and animal torturer, manufacturer of cages for films prisons. Jennifer Connelly as he threw the air in full orgy gang bang in Requiem for a Dream in Black Swan , he is assassinated Natalie Portman on stage. This is not his obsession with it that pushes it to death, but of loving Aronofsky see his heroine, puny little animal, spoil, suffer, without the theater of cruelty is something else that blows whip a doll sacrificed and stained.
Jérôme Dittmar
