The Black Swan (Black Swan)
USA, 2010
Director: Darren Aronofsky
Starring: Natalie Portman, Mila Kunis,
Vincent Cassel, Winona Ryder
When leaving a movie about dance, dancers, dancers, and these are transformed into pseudo-movie fans. Yes, because everyone but everyone, "the dancer" I frequent, have their own version of The Black Swan . From the "take-make-you-sick" to "na-ball-is-absurd" si passa allo "sconvolgentemozionante" fino allo scontato "è-proprio-vero". Era dai tempi di The Company di Altman che il mondo della danza accademica non si adunava in gran massa ai botteghini. Nessuno ne sentiva la mancanza, fra l'altro. Eppure eccoci di nuovo qui a sognare un incubo pungente. Perchè da Il Cigno Nero in pochissimi sono usciti salvi. C'è chi dà la colpa alle scene pseudo-horror (assai più easy di quelle made in japan ); chi al faccione da Oscar di Natalie Portman; chi al tremolio nausente dell'inquadratura stretta nelle scene di danza (alterego sofisticato di quelle pugilistiche in Toro Scatenato) . Roland Barthes lo chiamava "puntcum": that fraction of the image that stings us emotionally. We do not know how, but we have points and this is a fact. Psychodrama Nina, prima ballerina of the Swan Lake, then moves into the background (for many because of its scontatezza), while Aronofsky proceeds with its visual perversions. Leave aside the lessons psychoanalysis, the maternal superego, the dissociative schizophrenia: let's focus on moving images. Sobs of Requiem for a Dream , the stroke of The Wrestler , down to the Swan dark digital vaults. White. Black Red. And yet white.
Finally, we return to the movies with regularity. The key word is: discretion. The darkness of the room, shadow puppetry, chips. Signal to all the comedy Into Paradise, standing ovation at the Venice Film Festival and I think one of the most valuable of the Italian landscape. And then, a lot of surprises coming: March is gonna blow! 
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