Early in the film the audience is shown a small rash on Nina's back; this has to do with a nervous tick she has developed where she scratches herself. When the mother finds that the rash has gotten worse, she strips Nina down to her underwear and pulls her into the bathroom to cut her nails.
Throughout the movie Nina “discovers” scratches and bleeding on her body seemingly derived from self-injury. However, it is difficult to tell which injuries are real and which are not throughout the film. As the stress and anxiety increase, Nina begins having psychotic breaks.
As the film progresses, Nina completes her transformation into the Swan Queen. She continuously scratches a specific spot on her back, which viewers are told she has done in the past. This behavior develops into the visual and tactile hallucination of Nina sprouting wings.
The night before she is set to perform, Nina becomes convinced that Lily is going to take her place. Her paranoia and mental strain cause her to hallucinate that she's physically turning into the role of Odile, the Black Swan, complete with red eyes and black feathers protruding from bird-like skin.
Although symptoms would not occur as rapidly as they do in Nina Sayers in most common cases of schizophrenia, it is plausible. Therefore, Black Swan is a decent portrayal of a person's descent into paranoid schizophrenia.
But speaking as a psychiatrist, Lamberti said the film did not accurately depict schizophrenia, as has been widely speculated, but "does present a reasonable portrait of psychosis." "People tend to be scared of things they don't understand," he said.
Thomas notes that Nina clearly came with the intention to change his mind, to try and seduce him, in the mildest sense of the word. Thomas wants Nina to lose herself, that is how she can become the Black Swan. Thomas forcefully kisses Nina and she bits him.
Because the mother is a failed dancer, she lives vicariously through Nina while simultaneously harboring some resentment of Nina's success. It's the career she never had. She also is over-protective and treats her daughter like a helpless child.
NOT REAL: Therefore, Lilly and Nina did not have actual sex (we know this because after sex, Lilly said something to Nina about being a ‘Good girl’ and then tried to smother her.
Like other endings of Aronofsky movies, this incorporates surrealist elements as Lily's death was a hallucination. This wouldn't come as a surprise to viewers as the story had already dabbled in the protagonist showing similar behavior in the past.
The two fight, breaking a mirror. Nina stabs her doppelgänger with a large shard of glass from the mirror, killing her. The body reverts to Lily. Nina hides the corpse in the bathroom and takes the stage, dancing flawlessly as Odile and seemingly turns into a black swan, her arms covered in feathers.
It is, though, far from being the whole truth. The “Black Swan” screenplay has surely been prompted by a number of dancers' memoirs — Gelsey Kirkland's 1986 best seller, “Dancing on My Grave,” is just the most famous — to convey its neurotic version of the internal life of ballet.
Lily was the evil twin and the director of the play was the prince, Lily was seducing the director (Thomas) but Nina becomes the black swan and seduces him but ended up killing herself to finally free herself from the constant burden she puts on herself to be perfect all the time.
Synopsis. The movie opens as Nina Sayers (Natalie Portman), a young ballerina in her mid twenties, is dancing the prologue to Swan Lake. Swan Lake is a ballet in which a princess is turned into the White Swan and can only be turned back if a man swears eternal fidelity to her.
Can child stars go on to credible careers? With her Ivy League credentials and a performance in Black Swan that's put her in line for an Oscar, Natalie Portman proves it can be done... At 29, Natalie Portman has already been in the business a long time.
Natalie Portman has transformed herself for many film roles, but nothing was as grueling as her Black Swan makeover. The actress shed an astonishing 20lbs from her already slight frame to play a ballerina in the 2011 film and admitted it put such a toll on her body that she thought she was going to die.
As in many fairy tales, the film criticizes the values of its era, namely, the narcissistic aspects of contemporary society with its excessive worship of youth, beauty and celebrity, and its most pernicious results-escape into fantasy and insanity, aggressive rivalry, violence, and self-destruction.
In contrast, Siegfried's male lover is giving and compassionate. As the Black Swan, though, he represents what some South Africans, according to Masilo, see as dark forces in society: homosexuality and AIDS. Masilo plays up this dichotomy between the two swans in a pair of pas de deux.
Rachel Loewy, assistant adjunct professor of psychiatry at UC San Francisco, agrees that Nina's troubles could be consistent with a borderline personality disorder (in which a person has difficulty setting proper boundaries between herself and others) rather than a full-blown psychosis.
When she returns the things she took from Beth's (Winona Ryder) dressing room, the shoe knife becomes a weapon of self-harm, as Beth repeatedly stabs herself in the face. Again, there is no confirmation whether this is imagined or actually happened but the theory that it is part of Nina's psychosis certainly adds up.
This response is not uncommon; research shows a link between fulfilling a skin picking urge and dopamine release. The compulsion is difficult to resist.
The story's simplicity (an up-and-coming ballet dancer earns the coveted main role of White Swan/Black Swan in a production of "Swan Lake") belies what's really going on: an internal/external struggle that touches on the duality of women's lives and asks what we're willing to sacrifice to achieve success.
After the 83rd Academy Awards, where Portman won Best Actress for her performance in the film as a ballerina, controversy arose over how much credit for the dancing in the film was being given to her and how much to her "dance double", American Ballet Theatre soloist Sarah Lane.
