At this year’s Sundance Film Festival, Eva Victor presented the movie “Sorry, Baby” with a deliberate intention to keep its narrative as secretive as feasible. This film, a thoughtful and introspective campus story, isn’t usually associated with such secrecy, but Victor, who authored, directed, and acted in it, was adamant about not disclosing the specific elements that make the dark comedy dark. “We decided to take advantage of our one unique opportunity to have viewers enter the movie unaware,” she explains to The Hollywood Reporter. “All we divulged was a tagline that essentially said nothing. All it revealed was ‘something bad happened to Agnes, but life goes on for everyone else.’
Victor’s intuition paid off as “Sorry, Baby” became one of the most successful newcomers at the festival, garnering widespread acclaim and being snapped up by A24 for distribution. The director remains reluctant to delve too deeply into the plot, so when it hits theaters on June 27, audiences will primarily know the basic details: Victor portrays Agnes, a professor who remains at her remote New England college despite unresolved trauma. Her close friend, Lydie (Naomi Ackie), reappears, prompting significant contemplation about moving forward. Following Sundance, Victor has referred to her first film as a movie exploring aftermath. “It’s about finding healing when you’re stuck and navigating the path back to love and happiness,” she explains. “The events that occur in the story are a part of Agnes’ life, but I made a conscious effort not to make her a character solely defined by a tragic event. Ideally, the movie won’t be defined by that either. For me, it’s more about friendship and supporting someone through difficult times than it is about a single violent act.
Can you talk about what it’s been like in this post-Sundance, pre-release limbo?
I’m feeling a small pang as the creative process has come to an end. Now, it’s all about discussing the movie to encourage others to watch it. Ideally, they would simply go see it and then we could engage in conversations about it. The film encompasses everything I wished to express, so there’s no need for more words. It’s also exhilarating to finally let it out into the world. Perhaps this is how my mother felt when I left for college.
As a fervent admirer, when I took my movie to Sundance, was there a specific distributor I aspired for or an ideal outcome that I hoped to achieve from the festival?
In response to the team’s question about who my ideal buyer is, I yearned for them to grasp the significance of the movie to me. As I moved around the room, I searched for eyes that would resonate with my vision. Essentially, I was seeking a collaborator whose enthusiasm mirrored my own when it comes to the script. During my meeting with A24, I felt a strong connection, as if they could serve as the midwife for this project, providing the necessary support in the way I envision its birth. I continue to use the baby metaphor to express this sentiment.
To that end, what did you like about the way Naomi Ackie saw the film?
As a gamer, when we were on the hunt for our perfect duo in this game, I found myself comparing Agnes to the cool, steady moon and Lydia to the radiant, energetic sun – each bringing their unique light to the table. On our first virtual meetup with Naomi, she was more than just a warm, humorous character; she was a surprising blend of goofiness and warmth that I hadn’t expected from her serious work.
Our collaboration began, and it felt like magic – it was as if we were meant to play together. It was a delightful romance unfolding before my eyes, filled with an effortless connection that made the process enjoyable. There wasn’t a single rehearsal; instead, we simply spent time getting to know each other, which I believe has been crucial in making this film shine. Naomi, in my opinion, is the secret ingredient that elevates our performance and makes the whole experience feel like a seamless adventure.
So you hadn’t seen Blink Twice or Mickey 17 when you cast her?
By the time I reached the gaming stage, I’d already taken down both opponents without my direct sight. Witnessing their respawn was an electrifying moment. I couldn’t help but exclaim, “Wow, what can’t she do?” Every time I discuss her prowess, I get a shiver of admiration.
Are you certain that your message in this movie is clear to the audience, and they also grasp your perspective as its creator?
In my opinion, it was at the Sundance premiere when I observed the audience watching the film, and they started laughing quite early on. While seeking funding, I emphasized that I wanted viewers to feel comfortable laughing from the start. During private screenings with friends and family, I would analyze where I might be losing their attention or interest emotionally. At Sundance, there was no such loss; the audience experienced what we intended them to feel. People may pretend their feelings, but genuine vibes are hard to fake.
How did you decide on the mix, tonally, of comedy and the more serious moments?
As a gamer, I found myself navigating a script with shifting tones that didn’t quite feel right. For instance, parts I intended to be comedic seemed out of place. The jury duty scene was one where I went all-out with the humor, filled with physical comedy. However, upon reaching the set, it hit me that Agnes wasn’t supposed to be laughing but rather terrified and claustrophobic, struggling to hide her fear and forced to discuss something she wasn’t prepared to talk about yet. The scene took a more emotional turn. The same issue surfaced with the doctor scene; it was initially too heavy-handed, and we pondered over making it broader, almost like ‘Juno’. But our question was never about making the character feel better, instead, we were seeking the balm that soothed us as creators.
I came across information stating that you penned this piece from a home in Maine, and you also shot scenes in New England. Could you share how that experience impacted you?
What strikes me is that when I imagine where I’d love to reside someday, I often envision the house from the movie “Mother“. Specifically, I see it as it was at the start – a lakeside home built of clay or similar material. It seems my heart yearns for a life in such an earthen dwelling, and perhaps Jennifer Lawrence might be there too. Yet, New England holds a special allure for me as well.
How did it feel working with Barry Jenkins, particularly on a project that holds such personal significance for you?
At the brink of securing the scene’s edit, Barry phoned and proposed an idea. When Barry suggests something, it’s time to reconsider the cut. However, he’s incredibly collaborative. After some on-site testing, I spent a weekend pondering over what direction I wanted to take. I understood that the film could be interpreted in multiple ways, so I opted for one that blended elements from both options, striking a balance between them.
How did you cast the kitten?
Initially, there were two adorable kittens from a local shelter, named Evan and Bebe, engaging in playful antics with each other. A cat handler was present to manage these felines, and in an unusual approach, he smeared some chicken paste on my face to catch their attention and encourage them to interact with me. Despite being already adopted, the crew members expressed a keen interest in adopting these feline friends, even before they made their on-screen debut.
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2025-06-24 19:24