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Film History : Silvia Defrance
1992: Full drawn animation film (student film): “Winston and Julia” (7,10 min)
Award of encouragement "Legacy Charles de Leu" at the Academy of Fine Arts Ghent: KASK '91
Award for the originalité at the Acharnière Festival (Lille - France) '93
SABAM Award at the International Filmfestival of Brussels '94
Award for the best soundtrack for a short film by Cinema Jove (Valencia - Spain) '94
Nominated at the Holland Animation Festival (Utrecht- Holland) '94
Screened in "Best of the World" during the International Animation Festival (Hiroshima - Japan '94).
2005: An abstract painted Animationfilm: “Silvia’s Bagatelle” (1,15 min).
A study on qualities of movement during a research project at the Academy of Fine Arts Ghent under supervision of Martine Huvenne on music of Anton Webern.
2008: ”Candy Darling” (26.30 min).
A cross-over between live action and C.G.I. animated images. The first financed movie. Scripted, directed and produced by Silvia Defrance.
Silvia Defrance : Born in Ghent, Belgium.
Silvia Defrance studied animation film at the Faculty of Fine Arts Ghent where she obtained a M.A. in audiovisual arts. Currently she works on a personal P.H.D. research project: a Doctorate in the Arts in the same school. There she also gives lectures in film theory (based on the time image of Gilles Deleuze) to the masters. She is exploring and questioning structures of filmmaking by pushing these codes to their limits in her film practice. For the moment she is developing a new film project: “Spy Movie”.
Statement: 'Candy Darling'.
An organic nightmare without words visualized with hybrid visual imagery resembling a dream.
The film applies and experiments with other ways of storytelling than a purely linear, rational way of developing a narrative.
There is a story that evolves in a surreal setting, but that story has to be 'felt' and experienced rather than understood in a strictly rational sense.
The imagery has to be considered a form of figural abstraction, which means that certain images can stand for other meanings than the pure representational and conditional one.
The reading of the film remains 'open'; the film can be interpreted in different ways, depending on the reception of the public.
Inner conditions and tensions are made physical in this film, such as the lack of a realistic difference in age between the mother and the daughter, the rotten eggs which mutate in an uncontrollable way, the hybrid figures such as the several cane men, who are castrated and have to live being oppressed by the mother.
There is a tension between what is shown, the 'exterior', and what lives unsaid and hidden in the 'interior' of the characters and the story.
The soundtrack plays an important role in accomplishing this.This is a story without words and without dialogues, because what needs to be communicated has to stay enigmatic and needs to be experienced physically to be really understood.
The sound brings out the unspoken story that exists underneath the surface and is in juxtaposition with the external glossy imagery which makes the story at times even more painful and disturbing in a strange and funny way.