Excepting the Coen brothers’ “True Grit” remake, or Disney’s blockbusting, multidimensional sequel to “Tron,” is there any film more anticipated this awards season than Darren Aronofsky’s “Black Swan”? Let’s rephrase that, for the sake of brevity. Is there any non-Jeff Bridges film more anticipated this awards’ season than “Black Swan”? Probably not.
Ever since the first trailer was released this summer, in advance of premieres in Venice and Toronto, “Black Swan” has been drumming up a whole mess of hype. And with good reason. In the wake of 2008’s near-unanimously praised “The Wrestler,” Aronofsky has carved out a space for himself as a filmmaker who can handle material with a more delicate touch than the whip-bang sensationalism of other of his films, such as “Requiem for a Dream” and “The Fountain.” But “Black Swan” is far from delicate, despite dealing with waifish dancers working at a New York City ballet company. Though it has at its core the pressures sport impresses upon already-fractured psyches, any connections to “The Wrestler” end there. With “Black Swan,” Aronofsky is back to whip-bang. And then some.