Paul 1961 is right. No nudity. And Intense!!!
What is warped is the mother/daughter relationship. There are no boundaries. The mother can enter Nina’s room at any time----and does. Nina is twentysomething. A young woman with "toys’ in her room—enough stuffed animals for many children. Too many.
Something was bound to burst. The film for me is more about the relationship between life and art. In order for an artist to transcend and get to where they have to get for an “inspired” performance, they have to sacrifice something, shed something, to get there.
Does Nina die at the end? For me, “no.” What dies is a certain innocence, a very fragile, sickly white swan. Since the film is presented in the style of magical realism, (the spanish do this so well) it helps to propel Nina’s story, Nina’s struggle, to break free from what is really wrong: her stunted growth, resulting from a sick ugly grip of an unfulfilled corps de ballet mother.
When Nina declares “I’m the Swan Queen, you’re the one who never left the corps!” I believed it. She was on her way to freedom. Something too long delayed.
It is dark, yes, but “dark” isn’t the enemy. Since it is a fable, presented as a psychological thriller/horror film, it would, necessisarily, explore the darkness of her situation. It is the inner black swan who is trying to break through. Nina keeps "seeing’ herself. That’s “intense.” Many realities existing at once.
Can you close your eyes or fast forward over certain parts? You can. It’s up to you. But I didn’t get the feeling that any of it was gratuitous. It was a “realm” of her struggle that she had to work through and confront. Many fairy tales of old are driven by dark material. Did anyone notice the absent father figure? That’s a big dark hole.