Darren Aronofsky’s film Black Swan utilizes ballet, a highly disciplined art of the body, within a “play-within-a-play” structure to chronicle the psychological fragmentation of its protagonist. The recurring motif of the mirror serves not only as a narrative device but also as a visual metaphor: each shattering of the mirror corresponds to the destabilization and reconstruction of the protagonist’s ego boundaries. The gaze of the “other self” within the mirror translates the paradox of Lacan’s “mirror stage” into a visceral experience of horror accessible to a broad audience. Through a close reading of the mirror’s function as a “metaimage,” this paper reveals not only the self-referentiality inherent in its mirror narrative but also highlights the social function of psychologically suggestive cinema, which educates through fear.