10 Ways Darren Aronofsky Basically Remade The Wrestler In Black Swan

8. Camera Style/Cinematography

New York cinematographer, Matthew Libatique, had worked with Aronofsky on every project up until (and every project since) The Wrestler. But he found himself tied up at the time of shooting and was already committed to films like The Number 23 and Iron Man. French filmmaker Maryse Alberti was brought on-board, and while she does an excellent job, the film seems a little shaky in places, especially during Randy's three bouts. Already touched upon, the cinematography of The Wrestler and Black Swan are almost carbon-copies. From tracking shots behind Nina and Randy (of which there are plenty), to extreme close-ups and hand-held camera work, Aronofsky has tried his best to duplicate the feel and mise-en-scene from one film to the next. He is unafraid to take the camera into the nitty gritty of the life of a performance artist. During the wrestling matches and Black Swan's bookend performances, he takes the camera, quite literally, centre stage, capturing the essence of what it is like to be the artist in front of the audience. In close-ups, he focuses on Randy and Nina's preparations - from taping up their joints and scratching grip into the bottom of pointe shoes; to a shot of a steroid injection straight into Mickey Rourke's ass. To Aronofsky's benefit, this analysis may prove his status as an auteur; he has a preferred style of filmmaking and seeks the tools to implement his vision, even when the preferred choice is unavailable.