As with the Leading Actor category, honourable mention here goes to Blue Valentine and Rabbit Hole co-stars Michelle Williams and Nicole Kidman. Both offer effective and moving performances on their own merit, as well as providing the believable and captivating chemistry with their male counterparts that is required to make relationship dramas like these work. Similarly, Annette Bening and Julianne Moore work in tandem to portray a witty, entertaining and touching, less conventional relationship in The Kids Are All Right. 2010 saw the wide release of the previous year’s Swedish mystery-thriller The Girl with the Dragon Tattoo, the success of which spawning film adaption of the remaining books from the trilogy as well as David Fincher’s upcoming American remake. Fincher will struggle to replace Noomie Rapace as the title character though who gives a challenging and powerful turn, moving from victim to dominant female figure without resorting to the stereotypes of either. Nigel Cole’s Made in Dagenham features an impressive cast, but Sally Hawkins’ uncanny ability to bring a smile to everyone’s face when on screen makes her shine through. Hilarious, strong and often touching, this role proves Hawkins as one of Britain’s best young actresses. Mike Leigh’s Another Year brings an outstanding performance from Lesley Manville which defies classification. Bafta have nominated Manville for Supporting Actress, but her character, while not necessarily central in the plot, plays the most important part in the film, hence our nod to her in this category. Demonstrating great skill with Leigh’s renowned improvised style, she is funny, awkward and heart-breaking.
It really speaks to the quality of Natalie Portman’s performance in Black Swan that despite a strong year for Leading Actresses, there is little to no doubt as to who will be collecting the golden statue at this year’s Academy Awards. Black Swan is a film about commitment to a role, and quite fittingly, that’s precisely how to describe Portman’s performance. She gives us the character of Nina Sayers, frigid and innocent, insecure and contained, yet desperate for her first leading role in the New York Ballet Company’s production of Swan Lake. Perfect for the innocent and elegant White Swan, but unable to capture the passion and rebellion of the Black Swan that the role also requires, she is thrown into psychological turmoil as she begins exploring her dark side. Consumed by the pressure of the competitive and catty environment of the stage, Nina struggles with the different facets of her personality, reflected in her relationship with rival dancer Lily. The film mirrors its subject matter prominently, and consequently, so does Portman mirror the performance her character must give in the ballet. She perfectly paints the picture of the innocent, tepid girl who hasn’t quite grown up during the film’s earlier scenes, and as she dabbles with her darker, rebellious side and her world begins to spiral, Portman meets it with intensity and equal distinction. Her character’s reality becomes an insane roller-coaster ride and she commits to it completely, giving a wild, bewitching performance, typified by her captivating transformation at the film’s climax. Director Aronofsky deserves credit for once again coaxing an inspired performance from his lead, but that takes nothing away from Portman. This career-defining portrayal of deteriorating sanity in the perilous pursuit of perfection dominates the screen like no other this year.
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