Tag Archives: Darren Aronofsky

The Practice of Film Criticism Podcast 2022: Lily Edwardes-Hill and Luke Brown on Black Swan (Darren Aronofsky, 2010)

Lily Edwardes-Hill and Luke Brown return to the podcast, this time to discuss Darren Aronofsky’s Black Swan (2010).  There are three foci of discussion: body horror, the coming-of-age film and mother/daughter relationships. Lily and Luke explore how the film makes us question what truly happens in the narrative. We see the action through the perspective of Nina Sayers (Natalie Portman) but the whole film is about her descent into madness, making the viewer question the reliability of that narration. Black Swan brings up images just at the end of shots and then drops them to convey this idea of things being on the edge of vision or the unconscious. The film is structured as a change from the white swan to the black swan, a mournful and uncomfortable one in which the push and pull between Nina, her mother (Barbara Hershey) and her director (Vincent Cassell) play the central role though her adoration of Beth (Winona Ryder) and her competition with Lily (Mila Kunis) also figure prominently in developing themes of coming of age, independence and the price of artistic integrity and success. Lily and Luke discuss the use of mirrors and the way Aronofsky uses devices familiar to viewers of other films such as Requiem for a Dream (2000). In the end, Lily and Luke deem the film akin to a two-hour panic attack, and a success for conveying it so complexly and powerfully. A podcast that makes one want to see the film again.

 

The podcast may be listened to here:

José Arroyo

mother! – Eavesdropping at the Movies – Ep 5 – 18th September 2017

mother

What is Darren Aronofsky’s latest fever dream all about? How is it allegorical? What does it mean?  How good is Jennifer Lawrence? Why we both loved it. Is the audience reaction fair and what might that mean?

Recorded on 17th September 2017.

José Arroyo and Michael Glass of Writing About Film

 

PS. You might be even more interested in this lively discussion between Aronofsky and William Friedkin: