Film
L'ultima avventura animata targata Disney e ispirata ai fumetti di fantascienza degli anni ’50.
Il film diretto dal veterano Don Hall (Raya e l'ultimo drago, Big Hero 6) segue i leggendari Clades, una famiglia di esploratori le cui differenze minacciano di far fallire la loro ultima e più cruciale missione. Missione che li porta ad esplorare un mondo molto diverso dal nostro, fatto di colori innaturali, accesi e brillanti, e creature che ondeggiano tra il tenero e il minaccioso. In Strange World però lo strano mondo del titolo non è tanto quello coloratissimo e sotterraneo che viene scoperto dai Clade, fatto di bizzarre creature viventi e curiosi vegetali, ma quello in cui noi spettatori viviamo ogni giorno, ricco di sfumature, diversità e storie meritevoli di essere raccontate. Assistiamo allo scontro tra la generazione del passato, del presente e del futuro, ognuna incarnata nelle tre personalità (più una) che alimentano la famiglia Clade. Ancora una volta un contesto familiare si carica sulle spalle il peso metaforico di quello comunitario, con il passaggio di testimone innalzato a punto focale del discorso.
L'arte
Once again, this is not an actual quotation, although an art historian's mind cannot help but find itself in one of his paintings while watching this film. One of the most iconic and mysterious artists in the history of art, his landscapes are just as bizarre and chaotic as those in Strange World, which is why the strange world of Hieronymus Bosch proves to be a key source of inspiration for the Disney Classic. He was very popular during his lifetime, receiving many commissions from abroad, although we know little about him beyond his biographical details. Described as a heretic and mentally unstable, it is widely agreed today that his paintings were made with specific intentions, namely to instruct and communicate. The artist used traditional symbols but also created his own, referring to the Bible and Flemish folklore to create unique visual manifestations of established metaphors and puns. All this is to say that Bosch's paintings, however fantastic in their imagery, are perfectly in line with the didactic literature of the late Middle Ages. His most important and perhaps best known work is The Garden of Earthly Delights.
In general, one can summarise the organisation of the triptych in a first part on the left dedicated to the Earthly Paradise with the Creation of Eve, on the right a terrifying vision of Hell and a central panel that suggests the name of the entire work, although it is still difficult and doubtful to interpret. The luminosity of the vast landscape, certainly indebted to Van Eyck's Mystical Lamb, allows us a clear reading of the four different planes of the representation, all characterised by a circular progression; these are teeming with human figures, animals, monstrous beings and marvellous plants. The numerous characters represented in the scene of the painting are modelled with a design that emphasises a strong physical characterisation. The physiognomies can be said to be expressionist. In fact, facial expressions are highly emphasised as are postures and movements. The musculature of the nude bodies is synthetic and there are no muscular masses depicted in evidence. The chiaroscuro acts very weakly on the bodies, in fact, it is almost completely absent and the figures are defined by light backgrounds in contrast to the environment. The proportions of the bodies are far from classical Renaissance proportions and there is no search for ideal beauty. The presence of so many figures on the scene, besides being motivated by the subject, is symptomatic of the use of horror vacui. This tendency, which can be translated as 'fear of emptiness', was constant in certain Northern European painting and consists of filling every space in the painting with figures or details. Hieronymus Bosch painted other equally symbolic and crowded works such as The Ship of Fools and The Hay Wagon.
External links
Watch Strange World on Disney+
Painting:
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