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Expensive Candy (2022) – Storyline/Plot:

Candy is a sex worker. A poor teacher, Toto (Carlo Aquino), falls in love with her and she becomes his motivation to work hard.

The story follows around finding love in the most unlikely of places and risking everything to pursue it. High school teacher Renato “Toto” Camaya (played by Carlo Aquino) and hooker Candy (played by Julia Barretto) spend a night together and fall in love at first sight. Toto is determined to win her love and spend as much time with her as he can, even if it means exerting effort or buying her time. Toto is a modest man who leads a simple life. His one and only desire is to be with Candy, and he will stop at nothing to make that happen. Candy, however, has other ideas and doesn’t want to be in a committed relationship with Toto.

The story is about Toto’s virginity. Yes, seriously. The entire opening half is dedicated to Carlo Aquino’s character, who happens to be a teacher, getting constantly poked fun at for his virginity. Later on, the film becomes about Toto’s poverty, because it is the one thing that keeps him from constantly being with Candy, who asks for higher service fees. Then, as it nears the coda, it warps into a pseudo-suspenseful, bittersweet drama. The Philippine Sex Workers Collective echoes this idea and rejects the dominant portrayal of sex workers as victims, even claiming that “when women have to choose between precarious jobs, sex work is a better option for some.”

I bring these up because these ideas seem to serve as the backdrop for Julia Barretto’s character, Candy, in Jason Paul Laxamana’s (100 Tula Para kay Stella, He Who Is Without Sin) latest film.The film’s handling of poverty and class, which is intertwined with its view of sex work, also leaves a lot to be desired. Toto is the embodiment of someone who reifies a hierarchy of work, “with domestic work seen as virtuous and sex work as stigmatizing.” And if the film actually examined this position, and how the structures in Philippine religion and culture likely motivate this kind of thinking, then maybe we would have better understood Barretto’s character in conjunction with these constraints.

Candy asserts time and time again that sex work is her choice. She sees value in her labor and how she negotiates her body, saying that “tumaas ang sarili kong halaga (my self-worth increased)” when referring to the amount of money she gets from clients. Her work is influenced by her past socioeconomic conditions, with Candy being unwilling to trudge the same monotonous path as her poor family. Yet, even with all of these declarations of agency, Candy seems dissatisfied, or at least the acting and filmmaking want to make it look that way.