頂88後！我雇人朗讀了你的7段大作：）

You either love it or hate it. Some of my friends don’t like it at all, complaining it is a big downer. Yeah, I watched the movie last December right before Christmas. It seems that it doesn’t feel right if a movie lets one leave the theatre in chills during such a joyous holiday season. But I love every bit of it. I have to say it is one of most disturbing masterpieces I have ever seen, absolutely a piece of art. It keeps haunting you with its irresistible evil beauty when the story is over.

By her stunning performance, Natalie Portman has already snatched a gold statuette for the best actress even before the Oscar ceremony starts. Darren Aronofsky’s brilliant direction also deserves him an Oscar. But I will put all my bet on Natila this year.

If you are a hard-core thriller movie fan, you may be disappointed. Unlike those formulaic thrillers, there is no serial killer or creepy stalker, looming somewhere in the darkness, closing on the heroine step by step and striking the final attack when the film hits its climax.

In Black Swan, the demon that tortures the heroine actually doesn’t exist in the reality. It is all created in heroine’s own mind, by her insecurity of the new role, peer pressure, jealousy, paranoid and maniac seeking for the perfection in art.

In the whole time, the heroine is battling herself. The only person stands on her way is herself. It is a psychological horror movie about artistic obsession and an innocent girl’s cruel metamorphosis into a mature woman. I am pleased to see Black Swan is not dragged down to the regular thriller gutter because the inner struggles are more core-shaking and piercing deeper into humility than outer ones.

Nina (Natila Portman) is a very dedicated ballet dancer in A New York Ballet Company. Although she is 28 years, she still lives in a crowded apartment with her Mom, an ex-ballerina who had to give up her promising career to have Nina. So mom puts a lot of pressure on Nina’s dancing career and becomes overprotective and freakishly controlling when it comes to her daughter’s social life.

Here Nina’s mom is the symbol of asceticism. Lust and sex that once ruined her ballet dream are sinful and destructive in her eyes. Subconsciously, she refuses to let Nina grow up. She calls her my little sweet girl. Nina’s bedroom is full of stuffed animals and pink sheets, like a five-year-old girl’s room.