Movies

Sorry, Baby

BBG News

As a film enthusiast, I’ve noticed that pop culture has evolved significantly since the 1980s, when films like John Hughes’ “Sixteen Candles” casually incorporated sexual assault as humor. However, when it comes to portraying such crimes on screen, most movies and TV shows still rely on rather simplistic narratives. Even the #MeToo-inspired thrillers and biopics, which one might expect to tackle the subject with sensitivity and depth, often fall short. They either make the abuse a defining characteristic of the character, as in “Blonde,” or reduce the character to a symbol, as in “Promising Young Woman.” As a result, these productions fail to live up to their potential as thought-provoking cultural commentary.

Perhaps these projects can be given some leniency considering the challenging nature of their subject matter; discussing and recreating assault is not an easy task, whether it’s on set or on screen. It might require a fresh perspective—like that of a comedian—to push pop culture to broaden its storytelling approach regarding this topic. Enter Eva Victor, whose first feature film, “Sorry, Baby“, debuted at Sundance earlier this year to rave reviews (including a screenwriting prize) and was picked up by A24 for a reported $8 million at a festival where deals weren’t being made often. One of the main reasons it received such high praise was its portrayal of how sexual violence can drastically alter a victim’s life, while also showing how the world continues to move forward after an attack. “A terrible incident occurred in Agnes’ life,” reads the official synopsis. “But for everyone around her, life goes on.

The writing style and humor found in Victor’s previous work for sites like Reductress, particularly their humorous Twitter video sketches, significantly influence the tone of the movie “Sorry, Baby.” While the humor is effortless, it never overshadows the sobering reality that the film aims to portray. Besides writing, directing, and acting in the lead role as Agnes, Victor also assumes the character of a grad student living in a small rural town. She’s struggling with the aftermath of an assault by her advisor, Preston (Louis Cancelmi). The movie employs a non-linear narrative structure, starting a year after the attack, then jumping back to that critical period in Agnes’ life and the actual incident itself. These flashbacks are skillfully orchestrated with a chilling sense of detachment—a stark contrast to the lighter moments shared between Agnes and her best friend, Lydie (Naomi Ackie), who has since relocated to New York City and is moving on with her life.

The phrase “Sorry, Baby” doesn’t trivialize Agnes’ ordeal; instead, it finds a sense of levity despite the grim situation. In this context, humor serves as a soothing remedy, with its sardonic, wry, and absurd elements providing comfort. Since its premiere at Sundance, the film has been showcased in numerous festivals, including Cannes and Independent Film Festival Boston, where Sorry, Baby was selected as the closing film for this year’s event. Although the movie’s production took place 30 miles north of the city, in Ipswich, the anticipation surrounding Victor’s work was equally important in attending the festival’s final night as the choice of shooting locations. During his visit to the town for the April festival, Victor shared insights on how Sorry, Baby employs comedy to convey the reality of life post-assault. Excerpts from that conversation are provided below, ahead of the film’s June 27 theatrical release.

TIME: At the post-screening Q&A, you talked about craving privacy during the screenwriting process. Agnes, in her own way, craves privacy, or certainly distance after her assault. I was struck by the way what you were talking about on stage is reflected in the movie, and I’m curious if that’s something you’d intended, or a subconscious thing.

Absolutely. It’s intriguing because I often perceive Agnes as quite secluded, which contrasts with privacy; seclusion refers to being alone not by preference, but due to avoiding something, like fear of being hurt by others, and so she deliberately becomes solitary for this reason. On the other hand, privacy implies choosing to take time for oneself as a form of self-care.

As an artist, I strongly believe that solitude allows for deeper self-reflection. It’s challenging to introspect when immersed in a crowd and their opinions. While there are intriguing aspects and hidden meanings in my work that people discuss, I feel Agnes might be leaning towards the more complex side of these insights.

Isolation seems more accurate than “privacy.” What else are people pointing out that you hadn’t realized or noticed in the work?

In the movie, there are hardly any aspects left unnoticed by viewers that weren’t intentionally designed by me. Since I invest significant effort into each facet of the film, everything you observe on screen is a deliberate decision – something I carefully thought out or experimented with multiple times to achieve the desired effect. In essence, I can justify every element in the movie and its placement within the film.

What truly intrigues me is when viewers spot details in the movie that were more profound in the original script, but had to be reduced for various reasons. I admire those who catch these subtle aspects and uncover hidden elements within the film – though I can’t reveal them myself as one must experience them firsthand. However, I appreciate viewers who watch with a keen eye, pondering why certain events occur at specific moments in the movie; there are hidden secrets woven throughout the narrative.

That makes comedy essential to what makes the movie work; if someone wants to tell a story about a traumatic experience, and they choose comedy as their sensibility, I feel like they’ve come to the right place. How do you feel humor facilitates a narrative like Agnes’, and also facilitates that blossoming process of people finding their own threads in the film? 

The delight in crafting a film lies in putting your best effort into making it impactful for you, while viewers can discover their own unique insights from it. This is what makes cinema-going so gratifying – each viewer takes away something different. A movie serves as a versatile vessel, adapting to the individual perspectives of its audience members. In terms of humor, it acts as a potent tool for coping with challenging times. On days that seem surreal or absurd, laughter becomes our guiding light, and I believe much of the humor in the film arises when Agnes and Lydie share their shared witness to these moments.

It’s not as amusing when Lydie isn’t present, but when she’s around, it feels like a strong alliance; they’re almost like warriors fighting together in this strange world. I believe the impact of the doctor scene, without revealing too much, is significant because both Agnes and Lydie are dealing with the absurdity of the moment, but they have each other. On some level, if Lydie is there, you can trust that Agnes will be alright.

The moment that felt more somber, almost terrifying, and still funny at the same time, was Agnes in the office with the two administrators, reporting the assault; she’s alone, so it feels like there’s fear of the detrimental impact of loneliness in her circumstance.

Indeed, when Agnes finds herself solitary, these two women seem to generate an unsettling atmosphere of manipulation, leaving her without a confidant to validate her suspicions. “Strange, isn’t it?” she might have wanted to say, but alas, she is utterly on her own, and the two women appear as one in their actions.

The tone of the movie shifts around its midpoint, focusing on how comedy is woven throughout it. For instance, there’s a humorous doctor scene, followed by a more somber HR scene where things get darker. Later, Agnes, played by Lucas Hedges, enters the picture, and their encounter is comedic due to the absurdity of Agnes being overly enthusiastic and Gavin acting as a whimsical neighbor. In essence, the challenge lies in maintaining the flow of humor throughout the film’s changing moods, inviting the audience to experience this emotional ride with us.

Watching this film stirred thoughts about how media often exaggerates traumatic events. The movie, though deeply influenced by Agnes’ experiences, doesn’t solely focus on trauma. It skillfully weaves the impact of her life-altering events without making viewers dwell in that intense emotion throughout the entire film. I’m curious if you agree that our language could benefit from more nuanced ways to discuss this theme.

Completely, my perspective on this movie is quite engaging; the movie meticulously chooses the vocabulary it employs. The term “bad thing” is used by the movie, while only the doctor explicitly uses the word “rape.” This careful navigation of language regarding the subject matter makes for an intriguing viewing experience. It’s fascinating to observe how different writers discuss the film, as they often use terms like “rape” or “sexual assault,” which align with one’s expectations given the theme. However, the movie aims to craft its own terminology when addressing this topic. I appreciate the approach, as it doesn’t aim to startle viewers unexpectedly but rather guides them through the narrative, making for a unique viewing experience overall.

It’s uncertain if our current language fully captures the complexity of this topic, as I believe we struggle with nuance when discussing it. Fortunately, there’s growing research on this matter because every survivor’s experience with sexual trauma is unique, and each deserves the opportunity to share their personal narrative. I aspire for us to find a way to discuss it sensitively, perhaps avoiding both crudeness and violence. However, I am still exploring the best approach. Regarding my own perspective, you can gather it by watching the film, as everything I wish to express is portrayed therein.

You bring up subtleties; those can be quite elusive. To me, understanding and compassion seem crucial. I often find myself wishing that during my moments of distress while driving, someone like John Carroll Lynch would appear out of nowhere to offer me a comforting sandwich.

Me too. That’s why I made that happen for myself. 

Well, you have that divine power. You can make that happen for yourself.

Yeah. He’s wonderful.

He acknowledges this point, and it’s worth emphasizing its significance. That particular scene stands out in contrast to those with the doctor and HR, where there’s absolutely no empathy shown. While the doctor accurately labels “the unfortunate event,” his lack of concern for how that affects others is concerning. Did you consider the emotional impact on your audience when considering how to portray this moment in the film?

Absolutely, I affirm it. The film was created for a version of myself who needed this exact piece, so avoiding anything excessively distressing to me, to the extent where I wouldn’t be able to watch it, seemed crucial. Empathy-wise, it’s intriguing to consider; both the doctor and the HR women are individuals carrying out their duties as instructed. They represent institutions that can make it challenging for people to feel secure following a traumatic event, and they serve as facilitators of this difficulty. However, they aren’t inherently malicious; they’re simply trying to do their jobs. The problem lies in the fact that they may not realize their job duties involve causing harm.

With Professor Preston, Louis [Cancelmi] and I engaged in numerous discussions about how his genuine affection and regard for Agnes, as portrayed in the scenes, prevent viewers from perceiving him negatively until she does. Our goal was not to tarnish Agnes’ perception of him by revealing his darker sides prematurely, which mirrors her own experience. The complexities of each character served as a means to navigate this intense storyline about a truly terrifying subject; it’s not about good versus evil, but rather about deeply flawed individuals who inflict pain.

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2025-06-26 17:06

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