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In his film Black Swan Darren Aronofsky interprets a well-known story that is based on the black-white/good-evil duality. The director describes his work as a “werewolf” movie where the protagonist, Nina the dancer, is trapped as a swan during daytime and transforms into a half-swan, half-human at night. The film highlights the dancers’ preoccupation with their own images through repeated use of mirrors, which also take the viewer into Nina's world of projections and identifications. Starting with a dream, the film leads us to see this blurring of inner and outer worlds of day and night as the first sentence of a session. The following scene where Nina sits in front of a mirror brings to mind Lacan's concept of “mirror stage”. Facing her various reflections in the mirror, does Nina see herself as an independent unity, or is the self on the mirror an illusion as Freud had mentioned and Nina's personality and her view of herself and of the world are yet undifferentiated from her mother? Nina's father never appears in the film. Yet there is Thomas, a significant male figure and a symbol of power, who expects the white swan and the black swan roles to be portrayed by the same ballerina. The film follows Nina's terror as she desires to become a seducing woman and struggles to break away from her mother.