"Black Swan" wins big at the Independent Spirit Awards

Tonight Black Swan won Best Cinematgoraphy, Best Director, Best Female Lead, and best Picture at the Independent Spirit Awards. Natalie Portman and Darren Aronofsky were in attendance for the event.

Pictures of Portman's and Aronofsky's red carpet attire under the cut.

"Hesher" trailer starring Natalie Portman

Natalie Portman has hung up her tutu for big glasses in the movie Hesher, co-starring Inception star Joseph Gordon-Levitt. The film is about a family that loses their matriarch, and their way. Rainn Wilson stars as a father broken and distraught over the loss of his wife, while Gordon-Levitt plays an aimless, angry man who befriends Wilson's son. Then, enter Portman, whom the boy may or may not have a crush on.

Mila Kunis cast as the Wicked Witch of the West

Black Swan actress Mila Kunis has been cast as Theodora, the eventual Wicked Witch of the West, alongside James Franco in Sam Raimi’s Oz the Great and Powerful, a prequel to the classic story, The Wizard of Oz.

According to Vulture, Franco and Raimi (who worked together on the Spider-Man series) met and discussed Kunis’ involvement before he officially signed to star as the fast-talking magician who flees from a traveling circus in a hot air balloon only to wind up in the magical land of Oz.

Theodora, who eventually becomes the Wicked Witch of the West in the familiar story, begins as a good witch, torn by her affections for Oz and the corrupting influences of her powerful sister Evanora (of the East). When war breaks out between the evil witches and the various creatures of Oz, the magician (mistaken as a wizard) joins the forces of good with Glinda (of the North) for an epic battle — reminiscent of the stand-off in Burton’s recent Alice in Wonderland.

In the script, which underwent revisions recently by David Lindsay-Abaire (Rabbit Hole), Theodora is described as beautiful, dressed in an open-collared white shirt, black pants, and black knee-high boots with “quick eyes, quick movements, and a quick, lively mind.”

Vulture also says Kunis was being considered for a part in WB’s live-action Akira remake, which signed the Hughes brothers to direct over a year ago. Warner Bros president Jeff Robinov reportedly (and rather randomly) offered the lead, Kaneda, to Brad Pitt, who passed. Franco was also rumored for the part, as was Zac Efron. It’s unclear when, or if, the expensive Akira redo will get off the ground, but Disney’s Oz prequel shoots this July.

The ubiquitous Franco, 32, and Kunis, 27, played supporting roles together in Date Night, a rather disposable romantic comedy that starred Steve Carell and Tina Fey but wasn’t quite the hilarious flick its star-studded ensemble deserved.

This announcement partially confirms suspicions that Kunis is using some kind of witchcraft and/or wizardry in order to appear exponentially more sexy every day. However, we’ve been unable to confirm this because she will not respond to our numerous calls to her personal cell phone.

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New "Thor" Trailer and Natalie Screenshot

Rihanna channels Black Swan in new Reb'l Fleur perfume ad

Does anybody else reckon that Rihanna had Black Swan in mind when she was making the new advert to her perfume?
We couldn't stop thinking of the Oscar-nominated Natalie Portman movie Black Swan when we saw Rihanna's Reb'l Fleur perfume advert.

Red-haired RiRi emerges from a sea of peach-coloured feathers at the start of the clip looking simply divine in a flesh-coloured mini dress (this is the white swan moment).

The Barbadian songstress steps out of the feathers into a garden with a maze where she spots a hunky man in a suit *phwoar*.

But before long Ri has stepped through a mirror onto the 'bad' side where her dress changes colour to black (this is her black swan moment) and she seduces the stallion.

Unlike the movie, though, Rihanna crosses back to the good side and back into her flower. Beautiful.

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Kunis: 'I will never dance again' after 'Black Swan'

Mila Kunis has retired her tutu.

"I will never dance again!" the "Black Swan" star tells the March issue of W Magazine. "The first time I saw the movie, I was like it’s great that the performance has been captured on film, because I will never put on those pointe shoes again."

Kunis, 27, explains that before she was cast in the Oscar-nominated thriller, she had absolutely no ballet experience.

"I trained four months, seven days a week, five hours a day," she says. "I lost 20 pounds, I tore a ligament, I dislocated my shoulder. I have two scars on my back but it was worth every minute."

The biggest shocker? Walking around in designer footwear hadn't prepared her to be a prima ballerina.

"I was like, I wear heels; I can do this," says Kunis. "I was wrong. Christian Louboutins are uncomfortable, but I screamed the first time I put on a pointe shoe!"

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Russian Family Still Strong for Aronofsky

Film director Darren Aronofsky, whose latest movie “Black Swan” opened in Russia on Saturday, gained inspiration for the film from a visit to St. Petersburg, he said in a recent interview.

“Black Swan” is set in the New York ballet world and stars Natalie Portman as the perfectionist ballerina Nina. Cast in the lead role of a new production of “Swan Lake,” Nina is the ideal Odette, the innocent white swan princess, but is pushed by choreographer Thomas (played by Vincent Cassel) to develop her portrayal of Odette’s double Odile — the seductive black swan.

It is one thing to lose yourself in your art. Caught up in a web of intrigue involving a younger rival, Lily, who effortlessly embodies the black swan (Ukrainian-born actress Mila Kunis), Portman’s ballerina loses her mind.

“Mila’s Slavonic ancestry did influence us at the start,” Aronofsky said. “ We thought about her having an accent, since ballet is so international, but as we worked on the character we liked her coming from San Francisco better.”

The Brooklyn-born Aronofsky is keenly conscious of his Russian heritage.

“I feel a deep connection to Russia,” he said. “My grandparents came from Russia and so many of my family traditions are connected to the country.”

The director, whose previous films include “Requiem for a Dream” (2000), and “The Wrestler” (2008), said he had originally been attracted to ballet because of his connection to actors.

“When you are in front of the curtain, it’s all beauty and light. When you go backstage, you see the dancers are out of breath and sweaty — it’s anything but effortless. And you realize there is all this competition. As a director, that got me really excited.”

What were the major influences on the film? “More than any other film I’ve done, this one has been compared to other’s people work,” he said. “The biggest influence was Tchaikovsky’s ballet ‘Swan Lake.’ We tried to build the entire film from the fairy tale.”

Aronofsky visited St. Petersburg several years ago when he brought his last film, “The Wrestler,” which was nominated for two Oscars, to the city.

“I loved St. Petersburg when I visited with ‘The Wrestler;’ I can’t wait to get back,” he said. “I hope to bring ‘Black Swan’ to the city. When I was in St. Petersburg, I took in a production of ‘Swan Lake.’ The ballet was amazing, the dancers were staggeringly beautiful, and the musicians were tremendous. But I was stunned that the production had a happy ending. I’d never seen it before! And in Russia? Needless to say, my film’s ending isn’t as bright.”

Aronofsky is now working on his next project, a new adventure thriller titled “The Tiger.” The movie, based on John Vaillant’s book “The Tiger: A True Story of Vengeance and Survival,” has been optioned by Focus Features, with Brad Pitt potentially taking a leading role.

The story tells the tale of poachers in the Primorye region in Russia’s Far East who are tracked and hunted by an “almost” supernaturally powerful Siberian tiger.

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Clint Mansell Working On Mass Effect 3

Clint Mansell Working On Mass Effect 3 Composer Clint Mansell, best known for his work on films like Requiem for a Dream and Black Swan, is branching into video game music. He's currently collaborating with BioWare on Mass Effect 3.

Mansell confirmed his work on ME3 in an interview with The Quietus. He also discussed the process of making a game soundtrack a bit, comparing it to being a DJ.

"You've got the holding pattern, then the big explosion where you need the score to kick in," said Mansell. "Then you need to take it off on a tangent. You've got all these different elements that change depending on what the player does. You have to figure out an overall symphony, but be able to break it down into component parts. You can bring the pain when required."

Wall of Sound's Jack Wall served as composer for the previous two ME games. He confirmed on the BioWare forums that he's not involved with the third game.

"As you may have noticed by now, I am not returning to score the final game. The reasons are much too complicated to explain here, but suffice to say that the people at BioWare and I are still friends and we all really still like each other a lot," said Wall. "More importantly, the score for ME3 will be great and even more important than that, the game will likely be (being BioWare and all) super duper fantastic."

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advertisement Mila Kunis Before 'Black Swan': 'I Had Never Danced in My Life'

Mila Kunis flaunts her style in a new spread for W magazine's March Spring Fashion issue, on stands nationwide February 25, and the 'Black Swan' star reveals she had never danced before her breakthrough ballet role.

"I had never danced in my life," says Mila. "I trained for four months, seven days a week, five hours a day. I had one day off on my birthday. I lost 20 pounds. I tore a ligament. I dislocated my shoulder. I have two scars on my back. And it was worth every minute."

Asked if she'd be willing to continue dancing, she counters, "I will never dance again... I was like, 'Well -- I wear heels; I can do this.' I was wrong: Christian Louboutins are uncomfortable, but I screamed the first time I put on a pointe shoe."

The 27-year-old Ukrainian-born beauty -- who admits that she's the first person in her family to not be a college graduate -- also details her career crossroads when her contract with "That '70s Show" ended.

"I had to make a conscious decision about what I wanted to do with my life," she explains. "During the show, I had attempted to go to college, but I realized that the traffic in L.A. made it too difficult for me to go to school at 6 a.m. and be back at work at 10 a.m. I asked my parents if it was okay if I dropped out. They said okay, you can defer until after your contract with 'That '70s Show' ends. And then it ended. I realized for the first time that I couldn't imagine doing anything else. So I had to make acting a career -- to make smart choices instead of choices made for fun."

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Darren Aronofsky To Script 'Noah' Comic Book Based On Biblical Tale

Between the graphic novel for The Fountain and, more recently, taking the director's chair on The Wolverine, not to mention his frequent talk on the subject, filmmaker Darren Aronofsky has always had a thing for comic books. Now he's got his new comic lined up, Noah, which will feature artwork from Pride of Baghdad artist Nico Henrichon.


The news comes from Bleeding Cool, which first reported on the upcoming comic back in January. The story focuses on the Biblical Noah, who under the Almighty's orders built himself a massive ship meant to house every species of animal in the world while the wicked ways of man were wiped from the face of the Earth by an apocalyptic flood. Though it seems that Aronofsky's tale will focus more on the events that occurred after the flood.


"Noah was the first person to plant vineyards and drink wine and get drunk," the filmmaker said in his earlier interview. "It’s there in the Bible – it was one of the first things he did when he reached land. There was some real survivor’s guilt going on there. He’s a dark, complicated character."

Aronofsky also hopes to bring the story to film, calling Noah's Ark "the second most famous ship since the Titanic." That's further out for now, what with The Wolverine in early production, but the comic seems to be gearing up with the addition of a talent like Henrichon.

Pride of Baghdad is a Brian K. Vaughan-penned graphic novel released in 2006. The story follows a pride of lions that escape from the Baghdad Zoo during the 2003 invasion of the Iraqi capital. The award-winning graphic novel has been praised for Henrichon's striking artwork, and he's now bringing those talents to Aronofsky's Noah.

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Mark Wahlberg teased Darren Aronofsky about Oscar noms

Mark Wahlberg has revealed that he teased Black Swan director Darren Aronofsky about The Fighter's superior showing in the Oscar nominations.

Aronofsky was once attached to direct the boxing drama, but quit the project and was replaced by Wahlberg's Three Kings and I Heart Huckabees helmer David O. Russell.

Speaking to Entertainment Weekly about a recent encounter with Aronofsky on the awards circuit, Wahlberg said: "[He told me] that Black Swan was making more money at the box office... He was thrilled at [The Fighter's] success, but I pointed out that we had more Oscar nominations."

The actor admitted that he never discussed with Aronofsky the reasons why he chose to walk away from the project.

"I'm just assuming that it was because of other experiences he'd had in the past, or he felt that if it wasn't going to be done in the right way it wasn't worth doing," Wahlberg said. "But I never really asked those questions - ultimately it's that person's choice. You've got to do what you've got to do and I completely get that."

The Fighter has secured seven Oscar nominations against Black Swan's five nods.

The film's director Russell said of Aronofsky's previous attachment to the project: "He understands that I made a movie that was very different from the movie he would have made. That's what makes all the different filmmakers interesting."

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Fun fact: Mark Wahlberg and Black Swan's Mila Kunis starred together in the 2008 film Max Payne.

Is Black Swan craze for flat ballet shoes damaging women's feet?

At first glance they seem more sensible than sky-high stilettos or strappy sandals.

But ballet-style shoes can seriously damage the feet, knees, hips and back and may lead to arthritis, experts have warned.

Stylish ‘ballet flats’ have risen in popularity on the High Street thanks to the film Black Swan, which stars Natalie Portman as a ballet dancer.

Fashion forward: Stylish 'ballet flats' have risen in popularity on the High Street thanks to the film Black Swan, which stars Natalie Portman as a ballet dancer

However, they offer little support and should only be worn for short periods, according to the Society of Chiropodists and Podiatrists.

Lorraine Jones from the society said: ‘Professional dancers are no strangers to the perils of ballet shoes, which offer the feet little cushioning, leaving the lower leg and foot to absorb the full impact of movement.

‘This puts increased pressure on the knees, hips and back, which over time can increase a person’s chance of developing arthritis.

On trend: They may look stylish but ballet-style pumps offer little support and should only be worn for short periods, according to the Society of Chiropodists and Podiatrists

‘If you embrace ballet fashion then try to opt for a shoe with a slight heel and higher sides which offers the feet a little more support.

‘Try not to wear them for long periods, particularly if you are doing a lot of walking, and make sure you alternate regularly with a more supportive shoe.’

She added that anyone who wore the shoes for dancing should also ‘take precautions’, such as daily calf stretches to keep muscles supple.

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The Many Faces of ‘Black Swan,’ Deconstructed

Few ballet films excite popular fascination and excitement, and almost none to the degree of “Black Swan,” which is up for five Oscars this month. So why has it so intrigued academy voters and the public alike? Surely because it exerts its lurid appeal on multiple levels.

In “Black Swan,” Natalie Portman plays a ballerina who finally wins a lead role only to feel the pressure that accompanies it.

It’s a backstager: Will poor hard-working Nina (Natalie Portman) get the white-black double lead role of “Swan Lake,” pull off its taxing demands, survive till the first night and vanquish her rival, not to mention her terrors? It’s horror: Nina’s life spirals out of control for alarming reasons apparently beyond her control and indeed her comprehension. It’s psychosexual drama: Those forces come from her confused perceptions of her mother, her sexual inhibitions, her ambitions and her increasingly schizoid fantasies. It’s a Tchaikovsky-soundtrack movie: Nothing about it is neater than the way Clint Mansell’s score is almost all taken from “Swan Lake” material, with a marvelous use of the slow chords prefacing the ballet’s most famous pas de deux for an offstage effect of psychological suspense.

Most powerfully it’s a modern example of that old genre, the woman’s movie. Nina’s loves are seen as repressed and illicit, her successes are shown as triumphs in an unnatural and injurious art form, and she is duly punished for these transgressions. Joan Crawford would have killed to play her.

Nina has a female nemesis, but that turns out to be less her sexy, confident frenemy Lily (Mila Kunis) than her own alter ego. Yes, “Black Swan” is the latest example of what the film critic Jeanine Basinger has called the “My god, there’s two of her!” device. Nina develops her own built-in anti-Nina.

And it’s a highly partial — airless — view of ballet’s interior workings. It goes out of its way to contradict the old escapist idea that “everything’s beautiful at the ballet.” Instead it takes energy from the aspects of ballet that are cruel and unfair. Let’s not pretend, however, that those aspects don’t exist.

Let’s also admit there have always been striking parallels between the ballet classics of the 19th century and the Hollywood women’s movies of the mid-20th century. In “A Stolen Life” (1946) passive, sensitive and artistically creative Bette Davis, thanks to her inhibitions, loses Glenn Ford to her active, sexy but heartless twin — played, of course, by Bette Davis. In “Random Harvest” (1942) amnesiac Ronald Colman realizes only at the end that his perfect but cool, unyielding wife, Greer Garson, is also the warm, outgoing and devoted woman whom he married in the love-filled other life long buried in his subconscious. Resemblances between these absurd but deeply enjoyable movies and the full-length “Swan Lake” are easy to spot.

Likewise “Black Swan’s” alter-ego rivalries and divided-ego visions connect intimately to the good-bad, white-black, active-passive Odette-Odile heroines of “Swan Lake.” First Nina is told she doesn’t have it in her to be both the white swan and the black. Eventually, however, it’s disconcerting how much of the contrasting heroines she does contain.

Nina sometimes sees her anti-Nina in the mirror. Ballet has been obsessed with mirrors for centuries, and not just in works like August Bournonville’s “Ventana” (1856) and Jerome Robbins’s “Afternoon of a Faun” (1953). Dancers often spend more of their time in front of the mirror than before an audience, and it’s in the mirror that they see both the ideal versions of themselves they hope to show the public as well as their own failings.

In “Black Swan” Nina’s mirror-image starts to take on an independent life. Away from the classroom Nina continually sees this doppelgänger acting out her hopes and horrors. At the climax of a lesbian fantasy Nina’s lover Lily turns into Nina’s lover Nina: a radical rewrite of the old idea of the dancer as Narcissus.

If Nina is a narcissist, however, she is appalled by it. More obviously she is a self-tormentor. I wish this view of ballet were a lie, but it’s not. It is, though, far from being the whole truth. The “Black Swan” screenplay has surely been prompted by a number of dancers’ memoirs — Gelsey Kirkland’s 1986 best seller, “Dancing on My Grave,” is just the most famous — to convey its neurotic version of the internal life of ballet.

Nina could learn from a dancer she invokes in a dressing-room scene: Margot Fonteyn. In her 1975 “Autobiography” that most reasonable of superstar ballerinas emphasized the crucial distinction between taking work seriously (“imperative”) and taking oneself seriously (“disastrous”). “Black Swan” could have been inspired by elements of Fonteyn’s own story: She wrote emphatically of the “terror” with which she faced every performance of “Swan Lake” (whose central role she danced for some 35 years), and how, after Frederick Ashton told her everything that was missing at the dress rehearsal for his new ballet “Apparitions,” she found “by some alchemy of despair” the artistry to rise to the work’s demands .

One book about Fonteyn quotes her as saying, “I’m sure if everyone knew how physically cruel dancing really is, nobody would watch — only those people who enjoy bullfights!” For some dancers it is the hips that take most strain; some, the spine; for Fonteyn and others it was the feet. “Black Swan” offers just enough imagery to show us why pointwork in ballet can seem as extreme and punitive as the old Chinese custom of binding women’s feet.

“Black Swan” certainly feels hostile to ballet, but I don’t think it means to be. Its real objective — above and beyond that of so many women’s movies — is to imply that a woman’s truest fulfillment is as (heterosexual) lover, wife and mother, and therefore that Nina’s best artistic successes can never compensate for her personal sacrifices. The “Black Swan” view of ballet is that it’s an unnatural art in which women deny too many normal aspects of womanhood.

There is copious evidence to support that view. Witness such dancer autobiographies as Ms. Kirkland’s and Toni Bentley’s “Winter Season” (1982). Ms. Bentley describes how, when she has her third monthly period in a row, colleagues in her dressing room ask, “Are you sure you’re a dancer?” True dancers, according to that attitude, don’t have normal female functions.

To these negatives ballet brings many positives: energy, responsiveness to music, discipline, teamwork, idealism, interpretative fulfillment. Not so “Black Swan.” It’s both irresistible and odious. I was gripped by its melodrama, but its nightmarish view of both ballet and women is not one I’m keen to see again. As a horror movie, it’s not extreme. As a woman’s movie, however, it’s the end of the line.

Most depressingly, Nina is just not a great role. She’s too much a victim — the film makes her helpless, passive — to be seriously involving. Though she enjoys triumph, we never see the willpower that gets her there, just the psychosis and the martyrdom. It’s the latest hit movie for misogynists.

“The Red Shoes” (1948) — to which “Black Swan” owes so much — actually had more psychological depth. Its ballerina heroine found both fame and love, and her torment came from choosing between them. That’s a highly ambiguous attitude toward ballet — she cannot permanently reconcile dance and love — but you can see why it inspired thousands of girls to take up the art. The “Black Swan” idea of ballet is narrower: obsession, torment, inadequacy, paranoia, delusion.

Those things aren’t absent from ballet (or womanhood or life). And so Nina’s interior and exterior lives here spin together into a compelling vortex.

Will “Black Swan” follow “The Red Shoes” in inspiring a new generation of young dancers? Unlikely. It will, however, draw many to “Swan Lake,” to check out the ballet at the heart of the movie. What will they see?

Surely it’s time to go back to staging “Swan Lake” as it used to be before the 1940s, with no black swan at all, but with the antiheroine Odile dressed in strong colors, as a woman of the world. Her seductions lie in seeming not demonic but glamorously — if deceptively — available, unlike the withheld Odette. No ballet of the 19th century goes further into true tragedy: Odette the Swan Queen takes heroic responsibility for herself and also her flock of swan-maidens.

Alas, companies go on presenting “Swan Lake” as a crude choice between a good, loyally loving but passive victim and an evil, active and vampishly duplicitous sorceress. And ballet goes on abounding in sexist, melodramatic clichés. While this remains so, “Black Swan” is the ballet movie our era deserves.

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Mila Kunis: 'I was bullied over looks'

Mila Kunis has revealed that she was bullied at school over her appearance.

The actress, who is 5ft 4in, explained that she was "funny-looking" and was always the shortest in her class.

She told OK: "I had a very funny-looking face when I was little. I had like big eyes, big lips, big ears. But when I was little I was constantly being made fun of for having big eyes and that was awful.

"I used to come home crying, 'Why do I have big eyes?' And my parents were like, 'You're crazy!'"

The 27-year-old went on to say that she has learnt from being taunted.

She added: "I've learned it wasn't a bad thing to be picked on because when you're little is seems awful, like it's the end of the world. I grew into my face."

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Natalie Portman and Darren Aronofsky at the Oscars Luncheon

"Thor" Super Bowl Spot

Former ballerina: I was a real Black Swan...and it nearly killed me

HOLLYWOOD star Natalie Portman is tipped to win an Oscar for playing a tortured ballerina in hit movie Black Swan.

But the film has caused outrage in the ballet world, as Portman's character, Nina, pushes herself to the limits - suffering eating disorders, self-harm and depression in a quest for dance perfection.

For former ballerina Ali Townsend, watching the movie was like seeing a younger version of herself.
The mum-of-one had a glittering 18-year career as one of the country's top ballerinas and danced for the London City Ballet and the English National Ballet.

'It brought back haunting memories' ... Ali Townsend

She even tackled the dual role of the white swan and black swan (Odette and Odile) in Swan Lake - the dance which forces Nina over the edge.

Today, Ali reveals herself as the real-life Black Swan.

Mila Kunis Shows Skin in a White Hot LA Times Magazine Spread

Mila Kunis gives a serious stare and a lot of leg on the cover of this month's Los Angeles Times Magazine. She took a nod from her Black Swan character for the ballet-inspired spread, which was photographed by Ruven Afanador. Mila's currently riding the success of the film with multiple other honors, including a spot in Vanity Fair's Young Hollywood issue. Her movie with Justin Timberlake, Friends With Benefits, is up next and Mila talked to Leslie Gornstein about moving on from her TV career and making comedies, here's more:

• On her career: "I was very lucky to have a show for eight years. Now I can sit back and think about what I want."
• On making comedies: "I love doing comedies. They’re just as hard, if not harder, to make work, compared with a drama. You work 17 hours a day, and you have to try to make things different and funny and relatable onscreen all at the same time."
• Black Swan director Darren Aronofksy on working with Mila: “She’ll try anything . . . [Mila is] very, very playful—really willing to experiment."

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NYT article about Benjamin Millepied

IT was the laugh heard around the Web. Natalie Portman, glowing in a pink Viktor & Rolf gown, bounded onstage at the Golden Globes last month to accept the award for best actress for her role in the psychological thriller “Black Swan.”

The speech began awkwardly — with the requisite nods to the presenter, Jeff Bridges, and the Hollywood Foreign Press Association — before she thanked her grandmother, her parents and, finally, Benjamin Millepied.

Natalie Portman: Help Educate Girls in Kenya

Natalie Portman has teamed up with Free The Children to launch The Power of a Girl, an initiative to spread the word about educating girls in developing nations.

“With women comprising 70 percent of the world’s poor, investing in the education of girls is one of the best ways to end the cycle of poverty,” Nat said. “I’m thrilled to be working with Free The Children and excited to see the ways in which youth throughout North America and the U.K. will be able to help send girls to school in Kenya, bringing them one step closer to achieving their dreams.”

From now until May 1, young people aged 13-21 are encouraged to raise funds for Kisaruni, Free The Children’s new all-girls’ secondary school in Kenya. Finalists will be chosen in May and asked to share why they think it’s important to empower girls through education.

The winner will take home Natalie’s Rodarte dress from the AFI Fest premiere of Black Swan and the chance to travel to Kenya over the summer!

Mila Kunis featured on the Vanity Fair Hollywood Issue Cover

From L-R: Ryan Reynolds, Jake Gyllenhaal, Anne Hathaway, James Franco, Jennifer Lawrence, Anthony Mackie, Olivia Wilde, Jesse Eisenberg, Mila Kunis, Robert Duvall, Joseph Gordon-Levitt, Andrew Garfield, Rashida Jones, Garrett Hedlund, and Noomi Rapace.