RECAP: 2nd TFO Awards (2010)

The second year of this blog’s awards, the TFO Awards, honoured the excellence in film for the year 2010. The awards were posted in April to May 2012.

Christopher Nolan’s science-fiction heist film Inception won seven out of its nine nominations including Best Motion Picture and Best Original Screenplay.

Another big winner is Darren Aronofsky’s psychological horror Black Swan, nominated for twelve awards and bagged five including Best Directing (Aronofsky) and Best Actress (Natalie Portman).

The rest of the Best Picture nominees were The King’s Speech (9 nominations), The Social Network (9), Blue Valentine (6), The Fighter (6), The Ghost Writer (5), I am Love (5), Agora (3), and White Material (1).

Scroll down below to see the complete list of winners and nominees.

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Best Motion Picture

  • Agora – Alvaro Augustin, Fernando Bovaira
  • Black Swan – Scott Franklin, Ari Handel, Mike Medavoy, Arnold Messer, Brian Oliver
  • Blue Valentine – Lynette Howell, Alex Orlovsky, Jamie Patricof
  • The Fighter – Dorothy Aufiero, David Hoberman, Todd Lieberman, Ryan Kavanaugh, Paul Tamasy, Mark Wahlberg
  • The Ghost Writer – Robert Benmussa, Roman Polanski, Alain Sarde
  • I am Love – Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Tilda Swinton, Alessandro Usai, Massimiliano Volante
  • *WINNER* Inception – Christopher Nolan, Emma Thomas
  • The King’s Speech – Iain Cumming, Emile Sherman, Gareth Unwin
  • The Social Network – Dana Brunetti, Cean Chaffin, Michael De Luca, Scott Rudin
  • White Material – Pascal Caucheteux

Best Achievement in Directing

  • *WINNER* Darren Aronofsky – Black Swan
  • David O. Russell – The Fighter
  • Christopher Nolan – Inception
  • Tom Hooper – The King’s Speech
  • David Fincher – The Social Network

Best Performance by an Actor in a Leading Role

  • Javier Bardrm – Biutiful
  • Jesse Eisenberg – The Social Network
  • Colin Firth – The King’s Speech
  • Brian Geraghty – Easier with Practice
  • *WINNER* Ryan Gosling – Blue Valentine

Best Performance by an Actress in a Leading Role

  • Kirsten Dunst – All Good Things
  • Nicole Kidman – Rabbit Hole
  • Lesley Manville – Another Year
  • *WINNER* Natalie Portman – Black Swan
  • Michelle Williams – Blue Valentine

Best Performance by an Actor in a Supporting Role

  • Andrew Garfield – Never Let Me Go
  • *WINNER* Andrew Garfield – The Social Network
  • John Hawkes – Winter’s Bone
  • Josh Hutcherson – The Kids Are All Right
  • Ewan McGregor – I Love You, Philip Morris

Best Performance by an Actress in a Supporting Role

  • Amy Adams – The Fighter
  • Melissa Leo – The Fighter
  • Kristin Scott-Thomas – Nowhere Boy
  • *WINNER* Jacki Weaver – Animal Kingdom
  • Olivia Williams – The Ghost Writer

Best Performance by an Ensemble

  • Another Year – Michele Austin, David Bradley, Jim Broadbent, Phil Davis, Karina Fernandez, Oliver Maltman, Lesley Manville, Martin Savage, Ruth Sheen, Imelda Staunton, Peter Wight
  • The Fighter – Amy Adams, Christian Bale, Kate B. O’Brien, Bianca Hunter, Jenna Lamia, Melissa Leo, Sugar Ray Leonard, Erica McDermott, Jack McGee, Melissa McMeekin, Mickey O’Keefe, Jill Quigg, Dendrie Taylor, Mark Wahlberg
  • The Kids Are All Right – Annette Bening, Yaya DaCosta, Joaquín Garrido, Eddie Hassell, Josh Hutcherson, Zosia Mamet, Julianne Moore, Mark Ruffalo, Kunal Sharma, Mia Wasikowska
  • The King’s Speech – Anthony Andrews, Dominic Applewhite, David Bamber, Eve Best, Claire Bloom, Helena Bonham Carter, Jennifer Ehle, Colin Firth, Michael Gambon, Calum Gittins, Roger Hammond, Derek Jacobi, Ramona Marquez, Guy Pearce, Geoffrey Rush, Timothy Spall, Freya Wilson, Ben Wimsett
  • *WINNER* The Social Network – Bryan Barter, Jesse Eisenberg, Andrew Garfield, John Getz, Denise Grayson, Armie Hammer, Rashida Jones, Patrick Mapel, Rooney Mara, Joseph Mazzello, Max Minghella, Josh Pence, David Selby, Brenda Song, Justin Timberlake, Douglas Urbanski

Best Original Screenplay

  • Another Year – Mike Leigh
  • Blue Valentine – Derek Cianfrance, Joey Curtis, Cami Delavigne
  • Due Date – Alan R. Cohen, Alan Freedland, Todd Phillips, Adam Sztykiel
  • The Fighter – (Screenplay) Eric Johnson, John Silver, Paul Tamasy, (Story) Keith Dorrington, Eric Johnson, Paul Tamasy
  • *WINNER* Inception – Christopher Nolan

Best Adapted Screenplay

  • Flipped – Rob Reiner, Andrew Scheinman
  • The Ghost Writer – Robert Harris, Roman Polanski
  • Rabbit Hole – David Lindsay-Abaire
  • *WINNER* The Social Network – Aaron Sorkin
  • Toy Story 3 – (Screenplay) Michael Arndt, (Story) John Lassater, Andrew Stanton, Lee Unkrich

Best Animated Feature

  • Despicable Me – Pierre Coffin & Chris Renaud
  • How to Train Your Dragon – Chris Sanders & Dean DeBlois
  • The Illusionist – Sylvain Chomet
  • Tangled – Nathan Greno & Bryon Howard
  • *WINNER* Toy Story 3 – Lee Unkrich

Best Achievement in Cinematography

  • *WINNER* Black Swan – Matthew Libatique
  • Blue Valentine – Andrij Parekh
  • I Am Love – Yorick Le Saux
  • The King’s Speech – Danny Cohen
  • Let Me In – Greig Fraser

Best Achievement in Film Editing

  • Black Swan – Andrew Weisblum
  • Green Zone – Christopher Rouse
  • Inception – Lee Smith
  • The King’s Speech – Tariq Anwar
  • *WINNER* The Social Network – Kirk Baxter, Angus Wall

Best Achievement in Sound Mixing

  • Agora – Jorge Adrados, Mike Dowson, Peter Glossop, Ian Tapp
  • Black Swan – Alfonso Calvo, Craig Heninghan, Ken Ishii, Dominick Tavell
  • *WINNER* Inception – Lora Hirschberg, Steve Nelson, Ed Novick, Gary A. Rizzo
  • The King’s Speech – Paul Hamblin, Martin Jensen, John Midgley
  • The Social Network – Ren Klyce, David Parker, Michael Semanick, Mark Weingarten

Best Achievement in Sound Editing

  • Black Swan – Brian Emrich, Craig Heninghan
  • *WINNER* Inception – Richard King
  • Scott Pilgrim vs. the World – James Boyle, Julian Slater
  • TRON: Legacy – Steve Boeddeker, Christopher Boyes, Addison Teagues, Gwendolyn Yates Whittle
  • Unstoppable – Alan Rankin, Ann Schibelli, Mark P. Stoeckinger

Best Achievement in Original Score

  • The Ghost Writer – Alexandre Desplat
  • *WINNER* Inception – Richard King
  • How to Train Your Dragon – John Powell
  • Shake Rattle and Roll 12 – Punerarya – Jerrold Tarog
  • The Social Network – Trent Reznor & Atticus Ross

Best Achievement in Adapted or Song Score

  • *WINNER* Black Swan – Jim Black, Clint Mansell, Gabe Hilfer
  • Blue Valentine – Grizzly Bear, Joe Rudge
  • Flipped – Marc Shaiman
  • I Am Love – John Adams, Jen Moss
  • Scott Pilgrim vs. the World – Nigel Godrich, Kathy Nelson

Best Achievement in Visual Effects

  • Alice in Wonderland – Sean Phillips, Kevin Ralston, David Schaub, Carey Villegas
  • Black Swan – Michael Collins, Brad Kalinoski, Dan Schrecker
  • Hereafter – Joe Farrell, Bryan Grill, Michael Owens, Stephan Trojansky
  • *WINNER* Inception – Peter Bebb, Chris Corbould, Paul Franklin, Andrew Lockley
  • TRON: Legacy – Eric Barba, Karl Denham, Nikos Kalaitzidis, Steve Preeg

Best Achievement in Makeup and Hairstyling

  • Alice in Wonderland – Paul Gooch, Joel Harlow, Valli O’ Reilly, Patty York
  • *WINNER* Black Swan – Judy Chin, Marjorie Durand, Todd Kleitsch, Mary Hedges Lampert, Michael Marino, George Sheffer, Diana Yun Soo Yoo
  • Shake Rattle and Roll 12 – Punerarya – Annabel Asuncion, Bensy Batoctoy, Chona Batoctoy, Irene Batoctoy, Cherry Castinlag, Richard Carvajal, Alvin Tercena
  • The Way Back – Gregory Funk, Edouard F. Henriques, Yolanda Toussieng
  • The Wolfman – Rick Baker, Dave Elsey, Yoichi Art Sakamoto, Lisa Westcott

Best Achievement in Production Design – Contemporary

  • Black Swan – (PD) Therese DePrez, (SD) Tora Peterson
  • Dogtooth – (PD) Stavros Hrysiogiannis, (SD) Elli Papageorgakopolou
  • The Ghost Writer – (PD) Albrecht Konrad, (SD) Bernard Henrich, Uli Isfort
  • I Am Love – (PD) Francesca Balestra Di Mottola, (SD) Monica Sironi
  • *WINNER* Inception – (PD) Guy Hendrix Dyas, (SD) Larry Dias

Best Achievement in Production Design – Period

  • Agora – (PD) Guy Hendrix Dyas, (SD) Larry Dias
  • *WINNER* The King’s Speech – (PD) Eve Stewart, (SD) Judy Farr
  • Shutter Island – (PD) Dante Feretti, (SD) Francesca Lo Schiavo
  • True Grit – (PD) Jess Gonchor, (SD) Nancy Haigh
  • The Wolfman – (PD) Rick Heinrichs, (SD) John Bush

Best Achievement in Costume Design – Contemporary

  • Black Swan – Amy Westcott, Rodarte
  • Burlesque – Michael Kaplan
  • *WINNER* I Am Love – Antonella Cannarozzi
  • Rabbit Hole – Ann Roth
  • TRON: Legacy – Michael Wilkinson

Best Achievement in Costume Design – Period

  • Alice in Wonderland – Colleen Atwood
  • *WINNER* Flipped – Durinda Wood
  • The King’s Speech – Jenny Beavan
  • Made in Dagenham – Louise Stjernsward
  • Nowhere Boy – Julian Day

Best Achievement in Original Song

  • “If I Rise” from 127 Hours
    Music by A.R. Rahman; Lyric by Dido, Rollo Armstrong
  • “Made in Dagenham” from Made in Dagenham
    Music and Lyric by David Arnold, Billy Bragg
  • “Me and Tennessee” from Country Strong
    Music and Lyric by Chris Martin
  • *WINNER* “Sticks and Stones” from How to Train Your Dragon
    Music and Lyric by Jonsi
  • “You Haven’t Seen the Last of Me” from Burlesque
    Music and Lyric by Diane Warren

NOTE: Best Documentary Feature was not existing categories during this awards.

Click here to see the actual posts on the 2nd TFO Awards.

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Performance Profile: Natalie Portman in Black Swan (2010)

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Role: Nina Sayers, a mentally unstable and fragile ballerina

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Black Swan is a thrillingly orchestrated psychological horror-thriller anchored on a powerful performance by Natalie Portman (more on that later). From the director of the modern classic Requiem for a Dream Darren Aronofsky, the film is an engaging depiction of the downward spiral a perfectionist ballerina experiences when she wins the lead role in Swan Lake. Technically, the film is flawless: the beautifully choreographed cinematography, on-point editing, intriguing sound design, and the iconic make-up.

How does Natalie Portman enter the film?

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Her character enters exactly the moment where the film starts. In a riveting dream sequence, Sayers dances the role of the White Swan as she is suddenly tormented by Rothbart, the terrifying antagonist in Swan Lake. This scene already embodies the majority of what to expect in this performance: a mix of technical and emotional complexity. (And the dance double is not an issue to me, by the way.)

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As stated above, the film really anchors on the character of Sayers, the troubled ballerina. First of all, this is a case of great casting: Portman always had the ‘good girl’ image that fits the character so well, but she is also more than that. To add to that, she already enjoys the advantage of being the sole lead actor in the film; everyone else is in the background, therefore giving her more opportunities to shine.

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And the film never falters to give her moments to relish as an actress. This is a flashy character to play, but the writing is not really the film’s strongest point. The film has a tendency to overdo the simplistic depiction of good vs. evil, so it is left to Portman to emphasize on small moments to provide nuances to the character to eventually build it in small moments even before the showier scenes come.

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Portman successfully careful calibrates the performance with humanity and believability. The story takes the character to haywire moments, but Portman makes those scenes even more terrifying because she has effectively earned our empathy.

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Her frustration, helplessness, jealousy, and confusion all feel real. These are all effective because we have seen her from the beginning, the innocent Nina, up to when she starts to lose grip of sanity. This makes the psychological turmoil more felt and tangible.

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Portman’s slow metamorphosis both as a ballerina and as an innocent girl is credible and engaging. As her character actively and reactively changes the course of her fate, She maintains a steady grip of understanding of the character as the narrative progresses.

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She brings the human part of the film amidst the entire spectacle. The character must have been difficult to play because it is all about everything around her going out of control and abnormal, and yet it is her character that brings the reality that we need for the whole roller-coaster narrative to work.

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Portman nails the big moments of the character. It is in the last thirty minutes of the film where she gets to highest peaks of this performance. This is where the film goes blurry within reality and fantasy, the horror in her mind and the monsters around her. This is the make-or-break turn of the film, and it all succeeds because the film is so well-directed and because Portman keeps it all together.

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Upon repeated viewing, while everyone during the 2010 awards season was all about Portman’s dancing in the film, it is actually the non-dancing scenes that stick with me the most. Sure, she is a really believable ballerina, but I tend to notice more the emotional complications the characters was set to have rather than the technical aspect of it which is the dancing part. Portman’s performance survives the craziness of the film and emerges as an acting triumph.

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ACADEMY AWARD FOR BEST ACTRESS NOMINEES, 2009-2015, RANKED:

  1. Natalie Portman in Black Swan (2010)
  2. Jennifer Lawrence in Silver Linings Playbook (2012)

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This post is part of my part-time stint called Best Actress Project where I rewatch and review all the Academy Award for Best Actress nominees from 2009 to 2015. To read more, click here.

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Film stills courtesy of Fox Searchlight Pictures. Protected under Fair Use. No copyright infringement intended. 

Best Picture Profile: Black Swan

Directed by: Darren Aronofsky

Written by: Mark Heyman (screenplay), Andres Heinz (story and screenplay), John McLaughlin (screenplay)

Company: Fox Searchlight Pictures, Cross Creek Pictures, Protozoa Pictures, Phoenix Pictures

Runtime: 108 minutes

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The film is about Nina Sayers, an intensely dedicated ballerina working in a company whose star dancer is unfortunately going to retire anytime soon because of her age.

With a new season coming, he manager of the company decides  do the classic ballet Swan Lake. He now starts the search for the ballerina that suits perfectly with the Swan Queen – a role that requires a person to embody two roles, the innocent and kid White Swan, and the sexually potent Black Swan. Nina has the qualities that make her the right choice for the White Swan, but she is having a hard time in getting the Black Swan role right. Now, a new dancer in the company, Lily, gets the manager’s attention and often gives a comparison with Nina and Lily – Nina has the skills and the technique, almost reaching perfection, but she does not have the flowing naturalism and grace that Lily has. This depresses Nina.

Unexpectedly, though, Nina was chosen to become the Swan Queen. As she started her vigorous practices for the role, her psychological incapacity and immaturity also starts to take it all from her – she starts to actually be the Swan Queen in her own way, leading to tragedy after tragedy.

The direction is fearlessly twisted, a total tour-de-force.

In every single moment of the film, you know that it’s guided by a very clear path, but the path itself is adorned by intrepid details filled with surprises and knowledge that he movie was able to breathe life in its own. He shamelessly shows off when needed and holds back when asked to – in short, the direction gets things right. He understands what is happening in every situation of the film, and even if the screenplay loses a bit of its logic, the director pushes the limits, taking risks after risks, and the result is a ravishingly daring work. It rips through the heart of each scene and devastates the audience with the storm of emotions blazing throughout the course of the film. And even in the film’s quieter scenes, the staggering effect of the direction is never left off. It’s almost as if the direction was furious and roaring, but it still has the big amount of confidence and assurance that the project is not lost, cinematically speaking. The result? Simply fantastic.

If the direction pushed the boundaries, the screenplay throws them out of the window. The story is set in a nice way, but each scene constantly drives out the sense of logic in ourselves, more so when the film plunges into the psychosis of the character. This may seem like a frustrating thing for some, but it was quite effective, if not totally outstanding. Truth be told, the screenplay is not necessarily that of high-caliber, and sometimes, there are moments when it goes either too obvious in its intentions, like the “what happened to my sweet girl?” scene between Nina and her mother. The scene conveys transformation, and there it goes – it came a bit too obvious for the screenplay. In this case, I can say that the screenplay is the least impressive part of the film. But who cares? It provides the material which is effortlessly controlled by the direction. It’s like the  film isn’t really a screenplay film anymore. So does this mean that the screenplay is bad? No. The events actually are arranged in a very interesting way, but the dialogue, the words – they’re neat at best.

The cinematography is earth-shatteringly fantastic. There isn’t anything in every frame that I loved. Every shot felt right, every angle felt unchangeable, every move felt well-thought of. The handheld camera style used in this film could have been so exhausting to look at. Instead, what we have is a story that feels told in a very exciting and fresh way, and a lot of that, you can owe to the cinematography. Just as the film is relentless, so is the camerawork that fascinatingly produces the heightened tension in the film. And the dance scenes – the camera simply makes you dance with Natalie Portman in every dance scene she is in. There was a danger that the said technique could be overused, but the product is nothing short but brilliant.

The editing is mindblowing. It glues each shot with the perfect precision of events, helping further establish the dizzying nature of the lead character. There is rhythm in every cut, but there is also an impending build-up of danger that’s continuously lingering in the film. And not to mention the fact that the editing was the one who cohesively made the plot continuously moving in spite of some flaws in the logical essence of the story. With the editing, the film goes up to a higher level of filmmaking unlike any other film this year. The editing reaches the potential power that it can achieve to serve the story the life it has. When it’s low-key, the film manages to create an atmosphere of dread even in the simplest of scenes. When it needs to show off, the film does it with uncanny prowess and technique.

The sound rings true in its fair share of making the story as accessible as possible. The story is intense madness, and the Nina experiences that, and it overwhelms her, leading to her inner turmoil. What else can you add to create the madness other than having ace lensing and startling editing? Throw in the fully effective sound. Every sound that rings off already says something on what might happen to her, but it was never obvious or obtrusive.

The music is amazing. The film utilized pieces of music from the classic ballet Swan Lake, then gave it its own kick of creativity through the amazing Clint Mansell. There is the operatic beauty to crave for, musically speaking, but it never forgets the real usage of the music in this film, and that is for the music to heighten the peril of the situation. When it’s at its most pacified, the music paints the different dimensions of Nina with each note of the music. As the need for the music escalates, the film unleashes the music like a monster, having a personality of its own, owning every second of the film’s most bizarre moments. And the ending is music heaven – the epic feeling, combined with the rapid ascend of music to emotional destruction, is pure genius.

The visual effects and make-up showcases what appears to be a fine line between reality and fantasy. There’s no single scene in the film where either of the two failed – whether it be the nail scenes or the transformation scene – everything looked so real. The costume design may have pushed the good versus evil allegory a bit too much, but they are nonetheless very illustrative. The art direction of the film is in complement with each character, showing their personality and their psychology in their surroundings.

The costume design also add depth in the shading of the character. I’m not really speaking of the ballet costumes, which are undeniably great, but those clothes that they wear when they are at home, when they practice, when they go out – all those tiny details are well-delivered by the costumes. Even the slow-burning metamorphosis of the lead character is played well by the design.

The art direction is also impressive. Maybe, the only flashy parts of the art direction are Nina’s bedroom and the stage itself, but after looking much deeper and after seeing how they actually did it, it is even more impressive because the mysterious aura that the film already has is also anchored in the design. Even the wallpaper used, or the flowers placed, or the mirrors placed almost everywhere, all adds up in the film’s over-all look.

The performances ranges from very good to simply MINDBLOWING.

Mila Kunis is powerfully deceiving as the sexy and graceful rival ballet dancer Lily. Her eyes do a lot of the work, but it’s in her entire body language that convincingly draws the blurry reality of her character.

Barbara Hershey is terrifying as the overprotective mother of Nina. There is a blazing amount of underlined unstableness in her that is unsettling and thrilling to watch. She can be the dearest mother that one can ever have, and in a snap, she can be a child’s worst nightmare. There is this psychological shift that is smooth but also abrupt, and the result is powerful.

Vincent Cassel is sly as the sexually overwhelming company manager Thomas. His lines are somewhat too self-explanatory, but he still delivers them with the ease and confidence that it requires. The delivery with a bit of dictation and spontaneous, but it actually suits the character very well. There are a lot of contrasts in his character, but the most vivid is the doubt that he can bring in the scene but also accompanying it with assurance to the character.

Winona Ryder is also good as the newly retired prima ballerina Beth. There is tremendous danger in her every move, as if she is ready to stab you with a knife. There is the mysterious intensity that validates the reason why everyone is talking about her when she committed self-destruction. However, like the Swan Queen in the film, she also has the fragility of the role. She is not amazing, but boy, did she do justice to the role.

Natalie Portman brings what might be one of cinema’s best performances ever. Her intensely shattering creation of a child-like girl undergoing the tragic metamorphosis for her to own the role that she ever wants is simply fantastic.

Her “White Swan” scenes are played with the ethereal feel to it. It may have looked fake if other actress will do this, but because of the perfect casting for this movie, she simply nails it. There is the touch of immaturity that is ever-present in her. It feels like she has really been pampered that much by her mother. With those few scenes alone, Portman was already able to give a full background on the character by just giving a few hints in it. Also, her frustrated dancing behaviour feels very authentic.

In contrast to that, her “Black Swan” scenes are simply compelling and must be seen to be believed. She does something that is really hard to get – combining the child in the White Swan with full grace and the overflowing devilish sex inside the Black Swan with power and potency without neglecting the White Swan but at the same time, never letting the Black Swan be forgotten. Of course, there are parts where you can tell whether she is the White or she is the Black, but there are really startling moments in the film where the fine line between the two just completely blurs and all you have to do is simply watch. There is the powerful struggle that she undergoes in some scenes, when she embraces the Black Swan in her but her White Swan is still trying to win over her. It’s simply amazing.

Powerful scenes like her nail cutting by herself, being undressed by her mother, being scolded by Thomas after being so weak, saying to Beth her regrets and apologies, dancing for the first time the Black Swan, dancing away from the stage after making a mistake, and the revelation scene are only some of the scenes that are so well-done by Portman that you just get absorbed by it.

In my opinion, if I am going to cast this hell of a role, I would not have considered Portman, at least immediately. I definitely think she is a limited actress, and I even think that she did not deserve her first nomination for Closer, but here is a spellbinding work from a limited actress that was able to get hold of a once-in-a-lifetime role that fits her perfectly.

This film may have its own share of limitations, but who cares? Who damn cares, by the way? If you have this wonderful film composed of virtuoso work of everyone involved, those minor glitches in the film are so easy to forget. It’s powerful movie experience that is simply puzzling, mind-boggling, and simply haunting.

For this, the movie gets:

Agree? Or disagree?

INTRODUCTION – Best Motion Picture: 2010

Well, this was a very good year, I can tell you that right now. So, to start this year immediately, here are the nominees:

127 Hours

Black Swan

The Fighter

Inception

The Kids Are All RIght

The King’s Speech

The Social Network

Toy Story 3

True Grit

Winter’s Bone

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Would it be the survival biopic? Or the psychological supernatural horror? Or the boxing biopic? Or the mind-bending sci-fi? Or the dramedic indie? Or the British period piece biopic? Or the Facebook drama? Or the last installment of a beloved animated trilogy? Or the revenge Western action-drama? Or the suspense-mystery-drama indie?

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I know this year will be hard. That’s why I’m so excited!

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The system will be by lottery, and the last would be the Best Picture Winner, The King’s Speech.

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So, dear reader, would I go with the Academy? Or would I go with an another nominee?