--- product_id: 15889478 title: "Black Swan" price: "₹ 2510" currency: INR in_stock: true reviews_count: 7 url: https://www.desertcart.in/products/15889478-black-swan store_origin: IN region: India --- # Black Swan **Price:** ₹ 2510 **Availability:** ✅ In Stock ## Quick Answers - **What is this?** Black Swan - **How much does it cost?** ₹ 2510 with free shipping - **Is it available?** Yes, in stock and ready to ship - **Where can I buy it?** [www.desertcart.in](https://www.desertcart.in/products/15889478-black-swan) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description Product Description "You can't tear your eyes away" (Entertainment Weekly) from This "wicked, psychosexual thriller" (Daily Variety) starring Academy Award Winner Natalie Portman and directed by Darren Aronofsky (THE WRESTLER). Portman delivers "the performance of her career" (Vanity Fair) as Nina, a stunningly talented but dangerously unstable ballerina on the verge of stardom. Pushed to the breaking point by her driven artistic director (Vincent Cassel) and the threat posed by a seductive rival dancer (Mila Kunis), Ninas tenuous grip on reality starts to slip away plunging her into a waking nightmare. desertcart.com Feverish worlds such as espionage and warfare have nothing on the hothouse realm of ballet, as director Darren Aronofsky makes clear in Black Swan, his over-the-top delve into a particularly fraught production of Swan Lake. At the very moment hard-working ballerina Nina (Natalie Portman) lands the plum role of the White Swan, her company director (Vincent Cassel) informs her that she'll also play the Black Swan--and while Nina's precise, almost virginal technique will serve her well in the former role, the latter will require a looser, lustier attack. The strain of reaching within herself for these feelings, along with nattering comments from her mother (Barbara Hershey) and the perceived rivalry from a new dancer (Mila Kunis), are enough to make anybody crack… and tracing out the fault lines of Nina's breakdown is right in Aronofsky's wheelhouse. Those cracks are broad indeed, as Nina's psychological instability is telegraphed with blunt-force emphasis in this neurotic roller-coaster ride. The characters are stick figures--literally, in the case of the dancers, but also as single-note stereotypes in the horror show: witchy bad mommy, sexually intimidating male boss, wacko diva (Winona Ryder, as the prima ballerina Nina is replacing). Yet the film does work up some crazed momentum (and undeniably earned its share of critical raves), and the final sequence is one juicy curtain-dropper. A good part of the reason for this is the superbly all-or-nothing performance by Natalie Portman, who packs an enormous amount of ferocity into her small body. Kudos, too, to Tchaikovsky's incredibly durable music, which has meshed well with psychological horror at least since being excerpted for the memorably moody opening credits of the 1931 Dracula, another pirouette through the dark side. --Robert Horton Review: A Compelling Look Into The Crucible of Ballet - The beloved ballet "Swan Lake" is the most beautiful and compelling of all ballets. But, the film "Black Swan" is its destroyer -- a psycho dramatic voyage into the underworld of ballet. Nina Sayers, a budding ballerina extraordinaire, finds herself in a waking nightmare as she ventures as a maiden into the domain of the black swan. The pressure on Nina is intense. For starters, she dwells in the crucible of the all-consuming world of a New York ballet company. At home, she fends off the hovering presence of an overbearing mother, a former ballet dancer who never made it out of the corps not even to soloist let alone to principal dancer. Her dual dominance of her daughter runs hot and cold from loving acceptance to grim disapproval. She wants her daughter to succeed and yet, perhaps not too much. Nina has no close friends in the ballet company with its cutthroat competiveness. Yet the company is her life force. Bereft, too, of normal sexual release with another, the sole focus of her physical body is as an object of the dance. It is the presence of Lily, the free spirited newcomer to the company that pushes Nina's buttons, driving her unbearably. I couldn't help noting Lily as a take-off on Lilith, the dark soul who in Jewish folklore is to have been Adam's first wife before the creation of Eve. There is a real-life experience of complete mental collapse in the ballet world. It is known that the Russian ballerina Olga Spessivtseva was institutionalized for twenty years in an upper New York state hospital before being released. The ballerina had visited and intensely observed mental patients in preparation for the famed mad scene in the ballet "Giselle" and this led to her own bout with insanity. All in all, there is much that is out of sync in this film. The role of the prince in the ballet performance is danced by a guy named David (the name itself means beloved) whose emotions run only from A to B. He doesn't emotionally engage as he "walks the ballerina" in performance like a somnambulist. Nina Sayers is too much work for him. He even drops her in performance and later just looks dazed in bewilderment at her fate as the condemned swan. It's been said that ballet is woman, and yet, ballet is nowhere without a compelling male dancer. Margot Fonteyn writes in her book "The Magic Of Dance," (I am fortunate to have an autographed copy) that "Dance is very much an man's activity." I cannot imagine what ballet would be in today's world without the foregoing geatness of Rudolf Nureyev, my overall favorite dancer, and the charismatic talent of Mikhail Baryshnikov who made ballet respectable for the male dancer through his role in the ballet film "The Turning Point." Ballet would mean nothing for me today without the gentle excellence of Angel Corella, a principal dancer with American Ballet Theatre. In October of 1986, a ballet review that I wrote "The Paris Opera Ballet's Controversial Swan Lake" appeared in "The World & I," an international magazine of the Washington (DC) Times. This disturbing version was choreographed by Rudolf Nureyev as a nightmarish dream of the principal male character. It destroyed the beauty of the eternal vow made in traditional versions to Odette by the prince by never even acknowledging it. Nureyev, who danced in some performances as the prince and in others as the tutor, did not dance in the one I reviewed, implies that the prince is destroyed by the dark influence of his tutor who becomes his Rothbart. I did see Rudolf Nureyev dance in a production of "Romeo and Juliet" that he choreographed at the Metropolitan Opera on July 18, 1981. As Romeo, his greatness still shone brilliantly. Margot Fonteyn, however was relegated to dancing the role of Juliet's mother, Lady Capulet. After this performance, I saw Rudolf Nureyev outside the backstage entrance. I handed him an individual packet of a vitamin product that I had been selling. He took it, flashed that famous smile of his at me, and asked me what it was. I told him, vitamins. He then graciously autographed my program....one of my most cherished of all the autographs I've collected. The very best aspect of "Black Swan" is its incredible casting. Natalie Portman embodied Nina Sayers to perfection. She truly earned the Oscar she was awarded for Best Actress. Benjamin Millepied, principal dancer and choreographer with New York City Ballet, downplayed his charisma in the role of David and yet his smoldering presence came through. Vincent Cassel blew me away as the artistic director, fascinating me as much as he did Nina Sayers. I was stunned when I learned that he was an actor but not a dancer. Mila Kunis as Lily was compelling and I enjoyed her role but, other than in appearance, in no way did she resemble an actual ballerina. I can't imagine that a tattoo such as she displayed on her back would be tolerated in a major company and the ballerinas whom I have known were disciplined in the extreme...free spirits inside perhaps...but never, never in public nor on display. This film is a must for every true lover of ballet, if only for its glimpse into a dancer's world which never can be fully imagined from a pristine seat in the audience. Review: Best of 2010 Series: BLACK SWAN - Darren Aronofsky never fails to provoke audiences. From his 1998 film debut, Pi, to his powerful sophomore feature, Requiem for a Dream, it was clear from the start that Aronofsky was a serious filmmaker, willing to take his audiences to places they would rather not go, in order to reveal a specific truth. To this day, his films are extremely cerebral and unflinching. While Black Swan is a change of pace for Aronofsky, it is no less brutal than any of his previous works. Black Swan is a dark fairy tale and a psychological thriller, as well as a cautionary tale about the pursuit of artistic perfection. Natalie Portman steals the show as Nina Sairs, a young, ambitious dancer at a prestigious academy, who has just been chosen for the dual role of the White and Black Swan in Tchaikovsky's Swan Lake. While Nina's virginal innocence lends itself to the role of the White Swan, her instructor, the womanizing Leroy, insists that she will have to "lose herself" in order to accurately represent the openly sensual nature of the Black Swan. Suddenly, Nina begins to face corruption at every turn, coupled with what can only be described as a mental unraveling. The line between dreams and reality becomes horrifyingly blurred, as Nina tries to "find" her Black Swan. From the very start of the film, you feel for Nina Sairs. Natalie Portman's portrayal is a perfect balance of naïveté and blossoming sexuality. Her transformation is heartbreaking and powerful, and by the time the credits roll, you will be speechless. This is Portman's best performance to date, for which she won an Oscar this year. Black Swan is a film that will swallow you whole. If you are easily offended, you may want to look elsewhere. Featuring amazing performances from all involved, including Vincent Cassel, Winona Ryder, and Mila Kunis, as well as an incredible Barbara Hershey as Nina's unstable and controlling mother, this is a film that demands to be seen, and is Aronofsky's best film since The Fountain. Black Swan is 108 minutes, and is rated R for strong sexual content, disturbing violent images, language, and some drug use. Released by Fox Searchlight Pictures. Directed by Darren Aronofsky. ## Technical Specifications | Specification | Value | |---------------|-------| | ASIN | B0041KKYEM | | Actors | Barbara Hershey, Mila Kunis, Natalie Portman, Vincent Cassel, Winona Ryder | | Aspect Ratio | 2.40:1 | | Best Sellers Rank | #24,696 in Movies & TV ( See Top 100 in Movies & TV ) #3,746 in Drama DVDs | | Customer Reviews | 4.5 4.5 out of 5 stars (9,770) | | Director | Darren Aronofsky | | Dubbed: | French, Spanish | | Is Discontinued By Manufacturer | No | | Item model number | FXSE2283564DVD | | MPAA rating | R (Restricted) | | Media Format | Subtitled | | Number of discs | 1 | | Producers | Arnie Messer, Brian Oliver, Mike Medavoy, Scott Franklin | | Product Dimensions | 0.6 x 5.4 x 7.5 inches; 2.4 ounces | | Release date | March 29, 2011 | | Run time | 1 hour and 48 minutes | | Studio | Walt Disney Video | | Subtitles: | English, Spanish | ## Product Details - **Format:** Subtitled - **Genre:** Drama - **Language:** English - **Runtime:** 1 hour and 48 minutes ## Images ![Black Swan - Image 1](https://m.media-amazon.com/images/I/71+DXnWGUQL.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ A Compelling Look Into The Crucible of Ballet *by B***Y on January 19, 2012* The beloved ballet "Swan Lake" is the most beautiful and compelling of all ballets. But, the film "Black Swan" is its destroyer -- a psycho dramatic voyage into the underworld of ballet. Nina Sayers, a budding ballerina extraordinaire, finds herself in a waking nightmare as she ventures as a maiden into the domain of the black swan. The pressure on Nina is intense. For starters, she dwells in the crucible of the all-consuming world of a New York ballet company. At home, she fends off the hovering presence of an overbearing mother, a former ballet dancer who never made it out of the corps not even to soloist let alone to principal dancer. Her dual dominance of her daughter runs hot and cold from loving acceptance to grim disapproval. She wants her daughter to succeed and yet, perhaps not too much. Nina has no close friends in the ballet company with its cutthroat competiveness. Yet the company is her life force. Bereft, too, of normal sexual release with another, the sole focus of her physical body is as an object of the dance. It is the presence of Lily, the free spirited newcomer to the company that pushes Nina's buttons, driving her unbearably. I couldn't help noting Lily as a take-off on Lilith, the dark soul who in Jewish folklore is to have been Adam's first wife before the creation of Eve. There is a real-life experience of complete mental collapse in the ballet world. It is known that the Russian ballerina Olga Spessivtseva was institutionalized for twenty years in an upper New York state hospital before being released. The ballerina had visited and intensely observed mental patients in preparation for the famed mad scene in the ballet "Giselle" and this led to her own bout with insanity. All in all, there is much that is out of sync in this film. The role of the prince in the ballet performance is danced by a guy named David (the name itself means beloved) whose emotions run only from A to B. He doesn't emotionally engage as he "walks the ballerina" in performance like a somnambulist. Nina Sayers is too much work for him. He even drops her in performance and later just looks dazed in bewilderment at her fate as the condemned swan. It's been said that ballet is woman, and yet, ballet is nowhere without a compelling male dancer. Margot Fonteyn writes in her book "The Magic Of Dance," (I am fortunate to have an autographed copy) that "Dance is very much an man's activity." I cannot imagine what ballet would be in today's world without the foregoing geatness of Rudolf Nureyev, my overall favorite dancer, and the charismatic talent of Mikhail Baryshnikov who made ballet respectable for the male dancer through his role in the ballet film "The Turning Point." Ballet would mean nothing for me today without the gentle excellence of Angel Corella, a principal dancer with American Ballet Theatre. In October of 1986, a ballet review that I wrote "The Paris Opera Ballet's Controversial Swan Lake" appeared in "The World & I," an international magazine of the Washington (DC) Times. This disturbing version was choreographed by Rudolf Nureyev as a nightmarish dream of the principal male character. It destroyed the beauty of the eternal vow made in traditional versions to Odette by the prince by never even acknowledging it. Nureyev, who danced in some performances as the prince and in others as the tutor, did not dance in the one I reviewed, implies that the prince is destroyed by the dark influence of his tutor who becomes his Rothbart. I did see Rudolf Nureyev dance in a production of "Romeo and Juliet" that he choreographed at the Metropolitan Opera on July 18, 1981. As Romeo, his greatness still shone brilliantly. Margot Fonteyn, however was relegated to dancing the role of Juliet's mother, Lady Capulet. After this performance, I saw Rudolf Nureyev outside the backstage entrance. I handed him an individual packet of a vitamin product that I had been selling. He took it, flashed that famous smile of his at me, and asked me what it was. I told him, vitamins. He then graciously autographed my program....one of my most cherished of all the autographs I've collected. The very best aspect of "Black Swan" is its incredible casting. Natalie Portman embodied Nina Sayers to perfection. She truly earned the Oscar she was awarded for Best Actress. Benjamin Millepied, principal dancer and choreographer with New York City Ballet, downplayed his charisma in the role of David and yet his smoldering presence came through. Vincent Cassel blew me away as the artistic director, fascinating me as much as he did Nina Sayers. I was stunned when I learned that he was an actor but not a dancer. Mila Kunis as Lily was compelling and I enjoyed her role but, other than in appearance, in no way did she resemble an actual ballerina. I can't imagine that a tattoo such as she displayed on her back would be tolerated in a major company and the ballerinas whom I have known were disciplined in the extreme...free spirits inside perhaps...but never, never in public nor on display. This film is a must for every true lover of ballet, if only for its glimpse into a dancer's world which never can be fully imagined from a pristine seat in the audience. ### ⭐⭐⭐⭐⭐ Best of 2010 Series: BLACK SWAN *by S***H on April 6, 2011* Darren Aronofsky never fails to provoke audiences. From his 1998 film debut, Pi, to his powerful sophomore feature, Requiem for a Dream, it was clear from the start that Aronofsky was a serious filmmaker, willing to take his audiences to places they would rather not go, in order to reveal a specific truth. To this day, his films are extremely cerebral and unflinching. While Black Swan is a change of pace for Aronofsky, it is no less brutal than any of his previous works. Black Swan is a dark fairy tale and a psychological thriller, as well as a cautionary tale about the pursuit of artistic perfection. Natalie Portman steals the show as Nina Sairs, a young, ambitious dancer at a prestigious academy, who has just been chosen for the dual role of the White and Black Swan in Tchaikovsky's Swan Lake. While Nina's virginal innocence lends itself to the role of the White Swan, her instructor, the womanizing Leroy, insists that she will have to "lose herself" in order to accurately represent the openly sensual nature of the Black Swan. Suddenly, Nina begins to face corruption at every turn, coupled with what can only be described as a mental unraveling. The line between dreams and reality becomes horrifyingly blurred, as Nina tries to "find" her Black Swan. From the very start of the film, you feel for Nina Sairs. Natalie Portman's portrayal is a perfect balance of naïveté and blossoming sexuality. Her transformation is heartbreaking and powerful, and by the time the credits roll, you will be speechless. This is Portman's best performance to date, for which she won an Oscar this year. Black Swan is a film that will swallow you whole. If you are easily offended, you may want to look elsewhere. Featuring amazing performances from all involved, including Vincent Cassel, Winona Ryder, and Mila Kunis, as well as an incredible Barbara Hershey as Nina's unstable and controlling mother, this is a film that demands to be seen, and is Aronofsky's best film since The Fountain. Black Swan is 108 minutes, and is rated R for strong sexual content, disturbing violent images, language, and some drug use. Released by Fox Searchlight Pictures. Directed by Darren Aronofsky. ### ⭐⭐⭐⭐⭐ Review *by F***O on April 9, 2019* Perfecto ## Frequently Bought Together - Black Swan - Girl, Interrupted - The Perks of Being a Wallflower --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.in/products/15889478-black-swan](https://www.desertcart.in/products/15889478-black-swan) --- *Product available on Desertcart India* *Store origin: IN* *Last updated: 2026-05-07*