This study seeks to put forward the idea that the concepts of liminality and the uncanny in Black Swan not only manifest themselves in a dysfunctional mother-daughter relationship but, more specifically, are ineluctably connected to it. Accordingly, on the basis of numerous examples, this work focuses on the investigation of the inextricable link between liminal as well as uncanny elements in Black Swan, and which impact it has on the representation of motherhood. It is significant, as it will be shown, that liminality cannot only be seen in numerous characters and spatial images such as mirrors, but also in sexuality and the mother-daughter dyad itself. Black Swan is a film that plays with border situations and thresholds more intensely, a movie in which the concept of the liminal is spread more broadly than usual. It transgresses boundaries not only by blurring the line between actuality and imaginary, but also by dimming the bond between mother-daughter relations. Thus, the film raises many interesting questions when viewed through the lens of the threshold, the liminality: In what ways does Black Swan construct an in-between, a blurring of boundaries of mother and daughter? What does the impact of liminality reveal about the mother-daughter dyad and sexuality? How does the film create feminine identity within this interstitial space between facts and hallucinations, within border situations between body and animal? Or: In what ways does the liminal in Black Swan affect the spectators reception?