Black Swan (2010)

“I just want to be perfect.”

Join Ian & Megs for our 308th episode as we step into the mirror-lined, razor-edged, emotionally fraught world of Darren Aronofsky’s Black Swan (2010). Lace up your shoes, crack your knuckles, and prepare to descend into obsession, duality, and tutu-level trauma.

This week we discuss:

• Natalie Portman’s extraordinary, Oscar-winning transformation — fragile ingénue, ruthless perfectionist, and fractured psyche in one.
• Mila Kunis as the effortless chaos to Nina’s claustrophobic control — real threat or manifested paranoia?
• Aronofsky’s visual language: reflections, doubles, textures, and body horror. How does he trap the audience inside Nina’s deteriorating mind?
• The film’s depiction of artistic pressure and perfectionism — when does ambition turn pathological?
• What other film could we not stop referencing whilst watching this film
• Megs questions the ballet accuracy (and the wildly inaccurate bits) — including the culture, the training, and the psychological toll
• Ian asks if the film does a good enough job educating the audience about ballet to make the film accessible
• We talk about how Black Swan functions as a companion piece to The Wrestler — obsession as both craft and self-destruction.
• The boundaries between reality and hallucination — when does the film stop being literal? Or was it metaphor all along?
• We examine the film’s treatment of sexuality, identity, and agency through the lens of duality: White Swan vs. Black Swan, innocence vs. corruption, submission vs. liberation.
• The final performance — triumphant, tragic, transcendent? We unpack the film’s unforgettable ending.
• And finally, whether Black Swan is the Best Film Ever — or simply one of the most hypnotic psychological thrillers of the 21st century.

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