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‘Sorry, Baby’ was a way for Eva Victor to heal. The director is finding a lot of company

BBG News

On Eva Victor‘s right hand’s middle finger, there’s a straightforward design of a windowpane. When I inquire about it, she shares a tale filled with misunderstandings during her encounter with an Italian tattoo artist in Paris.

Victor shared, “I designed an elaborate fine-line tattoo featuring a window filled with curtains and small details.” The woman he approached initially said she couldn’t create that design. He asked her what she could do instead, and she sketched a simple box with lines. Victor agreed to go ahead with the simpler design, and she completed it as per his request.

Looking back from a bit of distance, an event that initially seemed like an unending catastrophe now carries a different significance.

Victor chuckles lightly, saying, “That tattoo’s quite tough, no doubt about it.” Pausing, he continues, “Well, you understand, it’s part of me. It’s always there with me, day in and day out, just like life itself.

Similar to his debut film “Sorry, Baby,” titled “The Tattoo Story” that Victor penned, directed, and acted in, this narrative initially unfolds with quirky intrigue, but later veers into something profound, exploring a deeply personal voyage.

Victor, aged 31, explains that he has numerous impulsive tattoos, saying, ‘I prefer to act rather than ponder over big decisions.’ To him, the action itself holds more significance than the actual outcome.

Looking at it daily, the small window serves as a constant prompt of an alternate existence. She further states, “Indeed, it’s almost like a memory of the person I once was, who could have such actions.

I’ve been eagerly anticipating the release of “Sorry, Baby,” a movie that made quite an impact earlier this year at the prestigious Sundance Film Festival. It was not only well-received but also won the Waldo Salt Screenwriting Award, which is no small feat! The film has since been acquired for distribution by the esteemed indie powerhouse, A24. I’m thrilled to share that it recently graced the screens at Cannes and will be available in limited release this very week. I can hardly wait to see it!

Over five years, the narrative unfolds through chapters reminiscent of literature, focusing on Agnes (previously known as Victor), a professor at a small East Coast liberal arts college where she was also a student. After a devastating sexual assault by one of her instructors, Agnes embarks on a fragile journey towards healing. Actress Naomi Ackie, who has recently appeared in “Blink Twice” and “Mickey 17,” portrays Lydie, Agnes’ closest friend, who evolves throughout the film by coming out as gay, marrying a woman, and having a child. Lucas Hedges plays a compassionate neighbor to Agnes during this period of her life.

On a peaceful Monday morning in a vegetarian eatery located in West Hollywood, we find ourselves gathering, where Victor, who goes by they/she pronouns and identifies as part of the LGBTQ+ community, is examining the menu with a blend of interest and excitement.

Victor identifies himself as a pescatarian, but occasionally indulges in a slider at upscale events or a taste of the pork and green chile stew at Dunsmoor in Glassell Park, which he particularly enjoys. After relocating to Los Angeles about a year ago for work on “Sorry, Baby,” Victor has become accustomed to life in Silver Lake with their pet cat, Clyde.

Victor expresses his affection with a quiet sense of certainty: ‘I truly enjoy it.’ He finds it reassuring as it reminds him of his familiar belongings, though he hasn’t been home for some time. He eagerly anticipates returning home for a well-deserved rest.

Following his morning meal, Victor plans to travel to the airport to film a minor role in an as-yet-unnamed production. By the close of the week, he’s set to make his talk show debut, appearing on “The Late Show with Stephen Colbert.

Victor expresses that the time after Sundance has been overwhelming for him. He values his privacy and daily routine, finding comfort in regular activities. It feels strange to transition from working on a film anonymously for four years, only for it to premiere at Sundance and instantly become known to everyone. This sudden exposure is a peculiar sensation for him.

Victor adds, “It does feel like there are a lot of layers between me and the film at this point.”

In the movie “Sorry, Baby,” Victor’s portrayal is marked by a unique, sharp-edged quality. This is because Agnes, who is grappling with reconnecting with her body after the traumatic incident, is often symbolized in the film as “the unfortunate event.

Victor expresses his protective feelings, saying, “‘Agnes is so awkward,’ I often hear. My response is something along the lines of, ‘I can’t believe it!’ Because to me, that character seems perfectly ordinary, and if others think she’s bizarre, well, I find that surprising.

Originally hailing from San Francisco, Victor received their education in playwriting and acting at Northwestern University. Post-graduation, they ventured to New York City, aiming to secure a role as a staff member on a late-night talk show. Their break came when they landed a writing position at the satirical website Reductress, following which they started producing short, humorous videos online that often went viral due to their sharp commentary on modern culture. Some of these include “Explaining why we’re going to straight pride,” “When I definitely didn’t kill my husband,” and “The girl from the movie who doesn’t believe in love.” Victor also graced the final three seasons of the series “Billions” as a performer.

In those videos, the portrayals of Victor barely scratched the surface of his intricate abilities and depth. In “Sorry, Baby”, there’s an exquisite tenderness in how the most tender and exposed scenes are handled. The film doesn’t show or audibly depict the sexual assault; instead, a shot of the teacher’s house exterior shows the progression from day to night. Later, Agnes narrates the incident while sitting in a bath, making the scene even more unsettling due to Victor’s unexpected humor that still lingers.

In the end, Victor explains that his intention for the movie was to explore healing and the power of love during tough times. Unlike many films, this one doesn’t focus on violence, but rather on Agnes sharing her experiences with Lydie and her resilience in handling it. The main theme of the film, according to Victor, is these moments of friendship that unfold over time, and the sense of loneliness a person might feel between those instances.

In the heart of the story “Sorry, Baby,” the bond between Agnes and Lydie plays a significant role. The dynamic between Victor and Ackie radiates an exceptional depth of emotion and mutual comprehension. Remarkably, the on-screen connection between these two actors emerged instantly.

On a Zoom call from New York City, Ackie shared his thoughts: “The script was so captivating that it seemed as though I had already met them,” he said honestly. “The way the writing flowed resonated with me, suggesting a potential connection. Reading it aloud felt comfortable and authentic to me. Then, when we finally met, it was as if the script’s humor, emotion, and poignancy were personified. There was an immediate comfort in our conversation, marked by openness, joy, and excitement.

The movie was created using an unconventional approach driven by producers Barry Jenkins, Adele Romanski, and Mark Ceryak. Inspired by Victor’s online videos, Jenkins initiated contact via direct messages and arranged a meeting which ignited the chain of events resulting in the screenplay for “Sorry, Baby.

As I received Ava’s initial script for ‘Sorry, Baby,’ it was much like discovering some of my most cherished treasures – complete and brimming with life. Granted, we still polished and fine-tuned certain aspects, but the essence of its beauty and raw emotion was already there, evident from the first page. It struck a chord immediately. Thus, it seemed like such a waste not to translate this raw, heartfelt story into a visual medium, allowing others to share in the magic we felt while reading it.

From there, the team worked diligently to help Victor feel at ease and self-assured in his roles as a filmmaker and actor. Given their previous collaborations with debut directors like Charlotte Wells on “Aftersun” and Raven Jackson on “All Dirt Roads Taste of Salt,” they understood that this process needed special consideration and dedication.

Romanski states, “A big part of why we felt capable of taking on this challenge is the extensive work we’ve put into understanding the most effective ways to assist a director in their debut phase. This gave us a great deal of confidence and certainty in our role as producers for a first-time filmmaker.

The team set up an informal apprenticeship in directing, giving Victor a chance to film several scenes from the script and then collaborate with an editor on enhancing the video quality. Inspired by Jenkins’ “Moonlight” and Kelly Reichardt’s “Certain Women,” Victor created shooting plans to better understand visual storytelling techniques. Additionally, Victor observed filmmaker Jane Schoenbrun during production of her highly praised 2020 movie “I Saw the TV Glow.

Movies

This summer appears packed with blockbusters reminiscent of Hollywood, thoughtful independent films as well, and an appropriate serving of entertaining yet brainless movies – a staple for any summer movie-watching experience.

Romanski clarifies that the timeline for the course wasn’t set in stone. Instead, they continued to assist and strengthen your directorial skills until you felt prepared to take the lead. Once you declared readiness, they would shift their focus to assembling the movie. There isn’t a standard plan for this process, at least not one they’ve followed before, but that’s part of what makes it intriguing.

The tale is deeply connected to Victor’s own life events, drawing from personal experiences. As far back as 2018, Victor openly identified themselves as a survivor of sexual assault, a fact that was covered in early press releases. Some of this experience found its way into their comedy acts, although Victor mentions that they no longer perform stand-up comedy today.

Working on and releasing the movie has often felt like a constant reminder, triggering emotions and feelings that Victor had previously moved past. However, as the filmmaking process progressed, it started to offer its own unique rewards.

Victor explains, “This sort of trauma occurs when someone has control over your physical movements against your will. It’s a strange and unsettling experience, and it can be incredibly hard to understand or reconcile with reality following such an event.

Last year’s “Sorry, Baby” shoot in Massachusetts marked a significant milestone for Victor, as it served as a validation. As he directed himself in the film, Victor explained, “Being an actor and directing myself allowed me to express: This is where my body will move now.” The team of 60 people affirming this action was a unique and empowering experience, making him feel like they all agreed on his decision about where his body should go. This sense of collective agreement during the filmmaking process was particularly meaningful for Victor.

Despite the significant achievement of “Sorry, Baby” propelling Victor into a broader spotlight, there’s a hint of sadness in realizing that numerous individuals resonate with the movie due to its reflection of their personal experiences.

Victor expresses that the movie holds deep personal significance for many viewers, and he feels a sense of sadness because it’s a group of individuals who have gone through hardships they shouldn’t have had to endure. What gives him hope and joy is knowing that he created the film with a bold approach, asking if anyone else shares his feelings. It’s heartening for him to discover that there are people who understand what he was trying to express.

Recently in France, Victor added another tattoo to their collection, this time on their foot – a spot that’s not frequently visible to them.

Victor suggests that there might be an element of psychological condition involved, but he believes that getting a tattoo holds a unique appeal. It doesn’t cause physical pain, yet the decision is significant and long-lasting, making it a daring choice.

Refocusing on minor adjustments in one’s viewpoint and behavior when interacting with the world is an integral aspect of what makes “Sorry, Baby” a potent encounter. As this work spreads further among various viewers, Victor’s personal connection to it also undergoes continuous transformation.

In simpler terms, Victor explains that releasing something he’s worked on feels like letting go or stepping back. He accepts whatever happens next, as fate may have it. By sharing his creation with the world, he relinquishes control and allows it to evolve independently of him over time.

Making “Sorry, Baby” has propelled Victor ahead on a personal and professional level, providing him with healing through artistic expression and camaraderie.

Victor suggests, ‘It seems that’s what we’ve agreed on.’ He explains, ‘When you let go of something, that’s often referred to as “releasing” something, and that term is accurate.’

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2025-06-26 13:32

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