New York City, mid-1960s, black-and-white 35mm film stock and a familiar sexploitation scenario: young Candy leaves her small town. We see her departing on the train. She is fleeing the fate of her mother, a prostitute who has committed suicide. She opines in voice-over about a new life in New York City, which holds the promise of another identity and respite from the shame bestowed by maternal disgrace. Candy (Barbara Morris), with dark hair and cropped bangs, evokes a low-budget Anna Karina circa Jean-Luc Godard’s early 1960s films. She moves in with an old girlfriend, her enchantment by the city’s roiling creative energies and architectural marvels rendered through street scenes, vertiginous views of skyscrapers, female flânerie. Introduced to the world of the single urban working girl by the women whom she befriends, Candy resorts to nude modeling and escorting. After two failed romances, with a philandering nude photographer and a sculptor more piqued by his art than by Candy, she returns to her party girl life while secretly edging toward despair....
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