This research investigates the balance between feminine seduction and innocence as depicted in Black Swan to question societal pressures demanding women to be diligent about how they express their sexuality, as well as the effects these pressures have on women. Due to the substantial influence popular media and films have on audiences, critically assessing the presentation of gender dynamics in cinema allows for a greater understanding of how films like Black Swan uphold societal gender roles of domineering men and timid, submissive women. By utilizing the gender ideology critique, the project examines the film Black Swan, which follows Nina Sayers, an “uptight” ballerina descending into madness after being pressured to sexualize herself by a male director. Initially, the research explores existing literature including ballet articles and dance reviews of Swan Lake, providing context to the film’s themes, such as duality and perfection, and hidden commentaries like the competitive nature of the ballet world. Subsequently, the gender ideology criticism, as applied to Black Swan’s character relationships and storyline, analyzes the gender dynamics present in the film, such as the relationships between the male director and the female ballerinas, as well as Nina’s interactions with other ballerinas. Nina’s portrayal confirms that success as a woman in a patriarchal society depends on conforming to male values, such as the “good versus bad girl” narrative, female objectification, and the division between genders, suggesting that men are the solution to validate femininity. While the only male main character, Thomas, takes advantage of his power, the “male gaze” portrays Nina and the other ballerinas as women in need of and competing for male direction, attention, and approval. Overall, Black Swan reaffirms that objectifying, pressuring, and holding women up to male-directed standards is still prevalent in society and often results in damaging consequences.