Eva Victor discusses her experience in directing, writing, and starring in Sorry, Baby - Exclusive Interview.

      Robert Kojder speaks with Eva Victor about Sorry, Baby...

      It’s fitting that Eva Victor has a comedy background, as it’s likely the only way to effectively navigate a film with such a bold tone. The director, writer, and star of the breakout Sundance success Sorry, Baby has succeeded in telling a story that explores a horrific personal trauma while also highlighting the strength required to move forward and embrace life—with humor woven into the narrative.

      Much of this stems from Eva Victor’s focus on depicting the friendship between Agnes (portrayed by Victor) and Lydie (Naomi Ackie), showcasing their playful interactions before and after the trauma. Naturally, the context of their banter carries a different weight. While the film does not shy away from its heavier themes, it handles them with thoughtfulness and care. There’s pain, but it remains a beautifully uplifting story that includes kittens (yes, I inquired about the kittens).

      Since viewing it online at Sundance, Sorry, Baby has become one of my favorite films of the year. Watching it a second time to prepare for this interview only deepened my appreciation and revealed more nuances, especially since the narrative is not entirely linear. Thus, it felt appropriate that the Chicago Film Critics Association (which I am a member of) included the film in its programming. Eva Victor (a Northwestern University alum) attended the screening and engaged with the press, offering thoughtful, articulate answers. Enjoy the interview below and make sure to see Sorry, Baby...

      I've seen the movie twice now, and I absolutely love it.

      Thank you for watching it multiple times!

      You're welcome. I know that you shadowed Jane Schoenbrun during the making of the remarkable I Saw the TV Glow.

      Yes, I did.

      That film not only screened at Sundance but also premiered at our Chicago Critics Film Festival last year. Sorry, Baby has also been picked up by A24 and is following a similar path!

      I feel part of a great legacy!

      Haha, and I also interviewed Jane last year, so for me, this is quite a full-circle moment to be conversing with you. Does it resonate similarly for you?

      It's incredibly exciting, and it’s beyond my expectations that people appreciate my film. I owe much of my confidence and my work to Jane, who has been an incredibly supportive figure for me. They recognized my potential as a filmmaker even when I couldn’t see it myself. I had a transformative experience on the set of TV Glow, as it’s rare to be on set without a designated job. I took in as much as I could, but typically I have responsibilities; this time, I was able to simply observe Jane closely as they made decisions.

      I was involved during the preparation phase as well, which was immensely beneficial in understanding my own prep requirements, as I was also integrating my actor preparation. It was invaluable to witness an example of how to prepare for a film, allowing me to develop my own approach. It was a remarkable experience—like attending a summer camp with a hundred geniuses.

      The film is exquisite, and it taught me so much… I read the script and saw the full shoot, but having access to different cuts during the editing process was a first for me. It allowed me to approach my editing with the mindset of 'let's dismantle this and rebuild it.' I grasped the necessity of deconstruction for a successful final product, and both the filmmaking and editing processes were fearless. They provided me immense confidence, both directly and indirectly.

      This film tackles profound themes, yet you cleverly maintain space for the friendship between Agnes (Eva Victor) and Lydie (Naomi Ackie) to exist beyond merely helping each other deal with “the bad thing.” They engage in various discussions and jokes, resulting in a friendship that feels authentic. Can you elaborate on balancing this aspect from a screenwriting standpoint?

      Absolutely! The film is fundamentally about their friendship and how it evolves as Agnes attempts to heal. It reflects what it looks like when someone offers support during a difficult time and how that connection aids in the healing process. This narrative tracks how they maneuver through life, highlighting Agnes’s struggles and how Lydie’s absence is profoundly felt until she returns, which is such a relief. For me, the friendship is the film's joyful core.

      The impetus for creating the film stemmed from a desire to explore the small-scale challenges of healing over the four years following trauma. It’s about identifying what motivates someone to keep moving forward despite the hardships. I aimed to emphasize the significance of a good friend, a satisfying sandwich, and a stranger. I was focused on discovering what drives her persistence—Lydie embodies that reason.

      After watching the movie twice, I’ve felt that Naomi Ackie would be the ideal friend. Can you discuss how you captured that chemistry with her to create such a believable friendship?

      I truly believe Naomi Ackie could generate chemistry with anything, even a wall.

      Very true.

      She is