Candy Land is an uncomfortable thriller set in the world of truck stop sex workers. Remy (Olivia Lucardi, It Follows) has recently been cast out from a religious cult. She is soon taken in by the women who work at a truck stop known as Candy Land. A series of violent killings soon has Remy trying to balance her previous and new lives.
It sounds like the trashy exploitation that excited audiences of the 1970s. The movie is unashamedly horny, and is filled with graphic nudity and sex scenes. Candy Land does not shy away from the gore, either. The film is blood-streaked and brutal. Candy Land does not rely on pointless sex and violence, however. It is a well written story that is more reminiscent of the golden age of indie film in the 1990s than the grindhouse peak of the 70s. Writer-director John Swab takes time to develop the characters and setting. Control, family, religion, and redemption are all a part of the story.
It is a lot for any one movie to take on. The reason it never feels overwhelming is how the women and men are always the priority. Even in Candy Land’s most extreme moments, it is always telling a personal story. Unlike similar fare, the film engages on more than a voyeuristic level. The pacing allows time to get to know and become attached to the group who work at the truck stop.
This is also seen in the production, which uses great lighting and framing. This is mixed with moments when the camera almost feels like an intruder that is peaking in. This is most obvious in some great overheard shots involving Lucardi. That being said, there are some strange editing decisions involving transitions and split screens.
Candy Land is a disturbing thriller that is over the top in nature, but personal in execution. It has the grimy scenes expected from this type of film, yet always remains a story about people. Pulling no punches, the film is a different type of grindhouse experience.
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