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Aronofsky has used what he has learned from making the raw and unflinching The Wrestler and the cerebral horror and incredibly disturbing Requiem for a Dream, and has crafted a film that you will simply not be able to take your eyes off of.

He builds up rather slow, but right after that first moment of off-the-rails insanity, he delivers one hell of an incredible piece of cinema.

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When so many films are often far too long and dragged out, this film maintains a sense of momentum that never gets lost at any point.

The film's slow points are never dragged out, merely well padded out for the shift from Nina being innocent to adrenaline soaked horror as she descends into the realm of darkness.

The company has fallen under hard times, and director Thomas Leroy (Vincent Cassel) makes the swift decision to put on a new rendition of the classic Swan Lake.

With the company's go-to lead pushed into retirement, Nina is quickly selected to be the lead in the new ballet.

When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth Mac Intyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice.

But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well.

When Thomas asks him whether he would have sex with Nina (Natalie Portman), the mirror behind Thomas shows David standing with his arms crossed.

But when the camera cuts to David scoffing at the idea, he is standing with arms akimbo again.

With competition arriving in the form of new dancer Lily (Mila Kunis), and the demanding desire for perfection from both Thomas and her overbearing mother Erica (Barbara Hershey), Nina begins a journey into dark uncharted territory.

Black Swan is an enthralling and visceral experience from beginning to end.

Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.

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