Eva Victor's 'Sorry, Baby' Wins Independent Spirit's 'Best Screenplay'

Summary

Podcast Summary: Eva Victor’s ‘Sorry, Baby’ Wins Independent Spirit’s ‘Best Screenplay’

Podcast: All Of It
Host: Alison Stewart (WNYC)
Date: February 16, 2026

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Episode Overview

This episode dives into the creative process and emotional resonance of Sorry, Baby, written, directed, and starring Eva Victor. The indie film, celebrated at this year’s Independent Spirit Awards, explores recovery and stasis in the aftermath of sexual assault, centering on protagonist Agnes and her journey to move forward—often at a glacial pace—after trauma. Alison Stewart and Eva Victor discuss storytelling, casting, tone, and the deliberate choices behind depicting such sensitive themes with compassion, humor, and innovation.

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Key Discussion Points & Insights

1. Creative Genesis and Writing the Film

• Eva Victor wrote Sorry, Baby in 2021, isolating themselves in a cabin in Maine to focus on healing from trauma (03:29).
  • Quote:
    “I knew I wanted to write something about trying to heal from a really bad, bad thing. And I wanted to de-center violence and speak to the things that keep you going, like a good friend, a good sandwich, a sweet cat.” (03:34 – Eva Victor)
• The setting of Maine was chosen for its blend of coziness and haunting atmosphere, which assisted in reflecting the film's tonal shifts (04:05).

2. Casting and Chemistry

• Eva Victor always saw themselves playing Agnes, but took extra time to decide to also direct due to the personal weight of the project and their inexperience (05:03).
  • Quote:
    “I was always saying, you know, I want to play this role. This means a lot to me... It took me a little longer to figure out, okay, yeah, I am wanting to direct this.” (05:03 – Eva Victor)
• Cast highlights:
  • Naomi Ackey (Lydia): Vital as Agnes’s best friend, described as the “sun” to Agnes’s “moon”. Immediate chemistry noted (07:54).
  • Lucas Hedges (Gavin): Cast as Agnes’s sweet, slightly awkward neighbor; Victor hand-wrote him a letter, praising his taste and fit for the role (08:16).
  • Quote:
    “Naomi Ackey is, I think, the best actor we have... So we were looking for the sun. And she is just the warmest, kindest, most patient, beautiful, most vulnerable actor ever.” (07:54 – Eva Victor)

3. Directing as a First-Time Filmmaker

• Preparation was intense: Victor “storyboarded the whole film,” shadowed established filmmakers like Jane Schoenbrun, and spent two years collaborating with their DP and producers (06:47).
  • Quote:
    “I storyboarded the whole film, every image... Me and my DP prepared... for basically years beforehand.” (06:47 – Eva Victor)

4. Narrative Structure & Tone: De-centering Trauma

• The film intentionally avoids a linear structure, opening with joy and intimacy between friends to humanize Agnes before diving into the trauma (09:43).
  • Quote:
    “We paint people as tragic figures when we know that this is what’s happened to them... I wanted to give Agnes and Liddy this fighting chance at being whole people that you fall in love with.” (09:43 – Eva Victor)
• Time in the film is elastic, reflecting Agnes’s subjective experience—a jury scene feels endless, while life events condense in other chapters (11:00).

5. Depicting the Assault: Off-Screen, Believing Survivors

• The assault is never shown; instead, the audience sees the house and shifting light from afar (19:08).
  • Quote:
    “I was never going to show that. ...Part of the reason I wrote the film was to say, can we not see that and maintain dramatic tension and feel everything we need to feel without it being, like, super triggering?... The film believes Agnes’ words without having to see it.” (19:36 – Eva Victor)
  • Victor emphasizes that the film’s “ethos exists in that image,” focusing on care and emotional authenticity.

6. Invented Language: “The Bad Thing”

• Agnes and Lydia use the phrase “the bad thing” in lieu of clinical or explicit language, a deliberate choice for safety and intimacy (17:22).
  • Quote:
    “Talking about it and saying ‘the bad thing’ is a way to protect each other... It’s their own special little thing...” (17:22 – Eva Victor)

7. Supporting Characters as Mirrors: Natasha

• The character Natasha, Agnes’s jealous cohort, is depicted as complex, with hints at her own experiences with the professor (24:07).
  • Quote:
    “I think we all are Natasha, I think. ...If we moved the world, like, Natasha would be the hero, you know, and that—that always meant a lot to me.” (24:07 – Eva Victor)
• Victor draws inspiration from classic “deliciously devastating” characters, referencing Chekhov’s Natasha and Lina Lamont in Singin’ in the Rain (25:58).

8. Moving Forward—Or Not

• The film concludes with Agnes’s slow, everyday survival. Lydia's contrasting trajectory (coming out, moving to NYC) highlights Agnes’s struggle to move at her own pace (22:01).

9. Music & Score Release

• Composer Leah’s score is essential, and a special vinyl release features both final tracks and personal notes/demos from the creative process (26:40).

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Notable Quotes & Memorable Moments

• On Not Showing the Assault:
  “We spent a lot of time...figuring out her travel back to her house and how to keep her face concealed and to just have this big moment of vulnerability when we finally see her face, and that is when she feels safe.” (20:57 – Eva Victor)

• On Humor and Safety in the Film:
  “I spent a lot of time trying to consider how my audience would feel watching the film and make specific choices to try to prevent their body from feeling shocked and scared. ...There are many moments in the film that are meant to keep you there and keep you present and keep you feeling safe.” (14:13 – Eva Victor)

• On Agnes’s Future:
  “You know, I think she's moving at a pace that is glacial and that's all she can do...She does get up and she does do her things, and she has moments of real joy and relief amongst the hard moments and that is, I guess, what it is to be here.” (22:01 – Eva Victor)

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Timestamps for Key Segments

• Introducing the film and Eva Victor: 02:09–03:29
• Writing process & Maine discussion: 03:29–04:57
• Casting and chemistry: 07:33–09:33
• Non-linear narrative structure: 09:43–12:13
• Film clip (Agnes and Gavin): 12:13–13:36
• Off-screen depiction of assault: 19:08–21:42
• On “the bad thing” as protective language: 17:22–18:52
• Natasha’s complexity and inspiration: 23:40–25:58
• Music and vinyl release: 26:40–27:30

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Tone & Style

Eva Victor's and Alison Stewart’s conversation is candid, warm, and thoughtful, mixing wry wit with emotional depth. Victor’s vulnerability and commitment to authenticity shine through, as does their concern for the audience’s experience.

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Conclusion

This episode of All Of It offers an intimate look at Sorry, Baby, illuminating how indie filmmaking can re-imagine storytelling about trauma with sensitivity, creativity, and even levity. Eva Victor’s first film stands out as an act of both personal and communal care, exemplified by its accolades and by this honest, generous interview.

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For listeners seeking further engagement, the score is available on vinyl, and Sorry, Baby continues to gain acclaim at the Independent Spirit Awards.

Transcript

[A]

This is all of it on wnyc.

[B]

I'm Alison Stewart.

[A]

Happy Monday, everyone. Every year, the Independent Spirit Awards celebrate the world of indie filmmaking. There's less red tape from the Hollywood studio system, and there are also lower budgets in the indie world, which means filmmakers have more leeway to be innovative and risky with their storytelling approaches. And it shows. Over the years, Independent Spirit winners have gone on to broad success and sometimes cult status, including Mystic Pizza, Pulp Fiction, Heathers, Dirty Dancing, and the Blair Witch Project. This year's awards were announced yesterday, but we've been having conversations with many of the nominees over the past few months, so we wanted to share some of those today. Later on, we'll talk about Peter Hujar's day with director Ira Sachs. The film recreates an archival interview between two friends, a photographer and a journalist that provides a snapshot of what it meant to be an artist. We'll also talk about the thriller Lurker, which explores a parasocial relationship between a singer and his obsessive fan. We'll hear about Twinless, which follows two young men who find friendship after their twins have died. And EFIS tells the story of a small town baseball league preparing to play one last game on their home field before it is demolished and replaced with a school building. That is all on the way, but first, let's get things started with Eva Victor. The film Sorry Baby was nominated for best Feature, Best Director and Best Screenplay.

[C]

It's the brainchild of Eva Victor, who.

[A]

Wrote, directed and plays the lead role, Agnes, in the film. We can tell that something has happened to her.

[C]

We don't actually see what happened, but we see and hear Agnes recalling it in step by step detail that she was sexually assaulted by her grad school professor. We also see how it affects her life. Not so much upending it, but causing.

[A]

Her to get stuck in the same town, working at the same school, living in the same house, not moving forward in life.

[C]

At one point, she says she can't.

[A]

Even imagine herself old.

[C]

Eva Victor is a writer and comedian who has gained a devoted following on social media sites like Instagram. That's where filmmaker Barry Jenkins found Eva and eventually reached out, offering to produce their first film. So let's hear them talk about it.

[A]

But before we do, this conversation will cover the topic of sexual assault. If you need help or someone to talk to, the national sexual assault hotline number is 800-656-HOPE. That's 800-656-46-HOPE37. When Ava Victor joined us to talk about Sorry Baby. I started by asking when they wrote the film.

[D]

I wrote this film in 2021. I kind of sequestered myself in a little cabin in Maine. And I knew I wanted to write something about trying to heal from a really bad, bad thing. And I wanted to de center violence in and speak to the things that keep you going, like a good friend, a good sandwich, a sweet cat. So it was a real time of just sit locking in and writing privately.

[B]

The cat and the sandwich and the good friend all feature in the film.

[D]

Yes.

[A]

What was special about Maine?

[D]

Well, the thing about the east coast that I think is so special is it can skew romantic and cozy and old and like a little nest. And it can also skew kind of horrific. And being able to play along that spectrum of tone was really meaningful to me. Like, it feels ancient, but it feels like also there's, like, secrets. And I really enjoyed being able to play with that in the film and have a cottage feel like the cottage in the holiday in moments in that film, and then also have it feel sort of like a house of horrors in moments when the character is feeling scared or when the character is feeling so. So it felt like the right setting for a film that deals with many, many feelings.

[A]

When you were writing this film, when did you realize, yep, Agnes, it's me.

[B]

I'm the actor?

[D]

Well, you know, when you write it, you never think it's going to get made. So I wrote it with my sort of. You know, it's very interesting because as people talk to me about the film, they're like, agnes is so awkward. And I'm like, well, I didn't. I didn't know that. Like, that wasn't totally something I understood, but thank you for letting me know. And I think I wrote it with. With my voice in mind, but that was always. That was always on the table. I was always saying, you know, I want to play this role. This means a lot to me. And it was. It took me a little longer to figure out, okay, yeah, I am wanting to direct this. I just have to prepare to do this because I've never done it before. So that. That was a little bit more. That was a little bit more of a challenge to wrap my head around. But then once I did, once I realized I desperately wanted to direct it, I felt I just had to learn how to do that, But I quickly wanted to do it.

[B]

Were you frightened to do it?

[D]

Of course. I'm frightened of many, many things. Yeah, I was scared. I think the main thing I was worried about Is the story means so much to me and I didn't want to sacrifice anything. Like, I didn't want something to be forgotten because I was taking on too much. So that led me to prepare a great, great deal for two years to, to be ready to do both things. And, and I had a huge, amazing team of brilliant people supporting me and doing it and understanding that the task was big. And so people were very game to help me, to help me when I couldn't see or couldn't be somewhere. So it was, it was, it took a, took a big group to make it work.

[B]

What's an example of being prepared that you knew you had to be prepared?

[D]

I storyboarded the whole film, every image. And I shadowed a good friend, Jane Schoenbrun, who while they were shooting their film, I saw the TV glow. And that was a huge help in learning how set runs. And they are an incredibly confident filmmaker and like a visionary. And it was really nice to just ingest some of the ripple effects of what it looks like when someone's doing what they're meant to do in that way. And me and my DP prepared the film and shot listed for basically years beforehand. I had amazing producers who were very interested in helping me get ready to direct the film as I wanted to. I was very lucky with that.

[B]

I'm speaking to Ava Victor, director, writer and star of the film. Sorry, baby. The cast is great. Chemistry is really important in this film.

[C]

Right.

[B]

So you have Lucas Hedges, who's a sweet guy who kind of has a crush on Agnes, and Naomi Ackey, who's your best friend. Capital best, yes. How do those actors come aboard?

[D]

I mean, okay, Naomi Ackey is, I think, the best actor we have. And we met and I felt immediately like I was sort of in love with her and I wanted her to like me. And I just thought she was so warm and so smart and just so special. And then we read together and there was this, this sort of magical thing that happened where it just felt like these people locked into place. And I always said, Agnes to me is the moon and Lydia is the sun. So we were looking for the sun. And she is just the warmest, kindest, most patient, beautiful, most vulnerable actor ever. And it luckily just felt sort of like fireworks immediately. And that never felt hard. It was very easy with her. And I'm so, I feel so lucky because it's a very. It takes a very particular person to trust a first time filmmaker because they have no proof this person can do it. So it takes a very Special actor and a very brave actor to jump in and give them self to a first time filmmaker. And Lucas, I mean, he's a legend and I wrote him a very long letter and.

[B]

Because he hasn't been in a lot.

[C]

Of things recently and I thought it was really interesting.

[D]

Yeah, he's, he's. He has impeccable taste. And I feel so lucky that he said yes and he understood it. And I think he just. The role fit him like a glove. And I. It was such a joy. I got to work with him for like five days. It wasn't enough. It was, it was so joyful. Yeah.

[C]

The film shows what her life is like during this three year period. And it's at different points in her life. It's not linear. Why did you choose that format?

[D]

I wanted the film to start with this explosion of friendship and I wanted to let the audience in on that kind of intimate, romantic joy that two friends have together. And I think in talking about this kind of trauma, we as people tend to flatten people who've been through this kind of experience, I think without meaning to. But we paint people as tragic figures when we know that this is what's happened to them. Because I think we're afraid that if they're a whole person, that means it could happen to us or someone we love. And I wanted to give Agnes and Liddy this fighting chance at being whole people that you fall in love with. And the film is meant to have a bit of joy in it and to have humor in it, which for me feels like a bit of a rebellion against the heaviness of the subject. And so starting off with these two people and hopefully you feel so connected to them and you feel like they're wrapping you in a big hug. So that when we get into the harder stuff, we see them as these complicated, like big people. So that meant a lot to me to start there. And there are all these little like ghosts that you see in the first chapter that maybe don't make sense upon first viewing. We see pages on a window, we see boots by a door, we see a cat and we see a sandwich that we don't know where it came from. And hopefully the audience feels long enough and that they're patient enough to make it to the answers to those sort of ghosts. Like you get the answers as you watch the film, which felt true to me in terms of how the world works. We never really know what feels heavy to someone and what doesn't. Like, why does. Why do boots feel heavy to this person? We find out later. And I wanted each chapter to function in a subjective way for how Agnes is feeling. Time works in that chapter. Like, there's a jury scene that kind of feels like it's like two hours long, because I think Agnes feels very stuck in that moment. And then there's another chapter where many, many things happen and she gets a promotion and she gets, you know, like, people go through huge life transitions in this one chapter. And I hope that it feels like time is moving in a way that Agnes has experienced time, and the film is reflecting that back to us.

[B]

Let's listen to a clip from.

[A]

Sorry, Baby.

[B]

This features Agnes and Lucas Hedges as her neighbor Gavin. And this is the first time they meet. She's at his house.

[A]

She's looking for lighter fluid.

[B]

You'll understand later. Well, you'll understand.

[A]

Let's listen.

[D]

You're my neighbor, right?

[E]

Yeah, I live here.

[D]

What's your name?

[E]

Oh, Gavin.

[F]

Gavin. Nice to meet you.

[D]

You too.

[E]

I'm Agnes Lamb of God.

[A]

What?

[E]

That's nothing. It's all good. I'm just. What are you up to this fine evening?

[F]

Oh, I was wondering, do you have, like, stuff that makes a fire? Oh.

[E]

Matches.

[F]

No, like a liquid. Is that a thing?

[E]

Oh, yes. Lighter fluid.

[F]

Yes. Do you have that?

[A]

Yes.

[E]

Why, do you need it?

[F]

My friends and I, we're going to make, like, a Hot dogs.

[E]

Oh, hot dog sounds good.

[F]

I'm sorry. We only bought two hot dogs.

[E]

Oh, no, that's no problem.

[C]

I'm.

[E]

I have dinner plans with my mom. That's not true.

[G]

I'm sorry.

[E]

I just wanted to close myself off from the possibility of being returned.

[G]

Rejected.

[D]

That's no problem.

[B]

There's so much going on. There's so much going on in that film and that scene.

[D]

I can't believe we listened to it. I've never just listened to it without. Yeah, it's very interesting. It's like a play, kind of.

[A]

What did you think when you heard it?

[D]

It's interesting. It's just that, like, the dialogue, clean dialogue, you know, it's interesting. Thank you for sharing it.

[B]

We have.

[A]

You know what?

[B]

When we look for films and we look for movie clips, we have to find those. Those times when you can really understand what's happening without a visual.

[D]

Yes, of course. You guys do it all. Good work.

[A]

Thank you.

[B]

What did you want us to understand about the tone of the film from that passage?

[D]

Mm. I think there is a. I mean, the Lucas and the Agnes and Gavin, that little relationship functions to me as a bit of like a rom com amidst the drama. And I think the film is meant to be quite loving and it's meant to be funny. And I hope that I think we, like, are talking a lot about the heaviness of the film. And I spent a lot of time trying to consider how my audience would feel watching the film and make specific choices to try to prevent their body from feeling shocked and scared. I made the film for a version of myself that I think desperately needed a film that talked about these big feelings but didn't show me something that was so devastating that it sent my body into shock and made me shut down. So there are many moments in the film that are meant to keep you there and keep you present and keep you feeling safe so that you can enjoy it and hear the film for what it is. And I like that I got to give the main character this neighbor who's very loving and very much like a little puppy dog who is kind of obsessed and also can't always read the room but is purely kind. So, yeah, it's nice to hear a little bit of that today.

[A]

We'll have more in a minute with Ava Victor, whose film Sorry Baby earned four nominations at this year's Independent Spirit Awards, including Best Feature, Best Director, and Best Screenplay. Stick around for more after the break. This IS ALL OF it. Welcome back to ALL OF it. I'm Alison Stewart. We've been talking about the film Sorry Baby from writer, director and star Ava Victor. The film follows a woman named Agnes who is struggling with feeling stuck in the wake of a traumatic sexual assault by a grad school professor and listener. This conversation covers the topic of sexual assault. If you need help or someone to talk to, the National Sexual Assault Hotline number is 800-656-Hope 800-656-4637. Sorry Baby is nominated at this year's Independent Spirit Awards, including for Best feature, Best Director and Best Screenplay.

[C]

So let's get back into this conversation. I asked Ava Victor to explain a particular writing choice. Why does Agnes refer to the assault she survived as, quote, the bad thing?

[D]

It's interesting because they're sort of like, honestly, I've talked to some male reporters about this and there. And some people's take about it is that they think Agnes isn't ready to use the real words for it and that that's a sign of, like, denial. And I feel the exact opposite about it. I feel like Lydia and Agnes have very thoughtfully created their own language around it that keeps them feeling safe while talking about it. And I think that talking about It. And saying the bad thing is a way to protect each other through conversations about it. It's the language that makes them feel like it's their own special little thing. And the only person in the film that betrays that language, the film establishes is this kind of cruel doctor who uses words that feel very sharp. So. So for me, it's like another way that they're creating a bubble of safety for each other. And I think the words we have language is quite limiting. And it feels very scary to. I'm very clinical in a lot of ways. And I wanted the two best friends to find their way through it in a way that they're talking about Agnes's experience of the bad thing. It's not this desensitized sort of clinical term. It's a. It's their experience of what happened. And it's very particular and personal.

[B]

Yeah, it's kind of interesting. Naomi. Naomi's character is like, have a seat, Doctor.

[D]

I know. She's amazing.

[A]

Such a good movie.

[D]

It was a really fun scene to shoot, despite it being. It was very fun. We had a laughing attack during it, which was kind of inappropriate. But it's the way through. It's the way through.

[B]

Something that I appreciated as a viewer was that we don't necessarily see the assault. We see the house from afar, going through all of the different times of day. You go in and you come out much later. We see the light get dark.

[A]

We see. It was very affecting.

[D]

Thank you.

[B]

Why did you choose to go that route? There are many different ways you could have shown that assault.

[D]

Why did you go that route? I knew coming into the film that I was never going to show that. It just was. Part of the reason I wrote the film was to say, can we not see that and maintain dramatic tension and feel everything we need to feel without it being, like, super triggering? I also. I also couldn't make sense of the idea that, like, okay, so if there's a camera in that house, whose eyes are those? Like, are we watching from some objective perspective? That didn't make sense to me. And then the idea of doing something from, like, a POV just was never something I wanted to do because it's too intense and too painful and just wasn't. It wasn't what my heart wanted. So the reason I chose to shoot it that way is because I do think in our world, we very rarely get to be behind the closed door. Like, we hear what people have to say about what they experienced, and that's what we get. And that's One of the reasons it really meant a lot to me that the film believes Agnes words without having to see it. And I wanted to make a film that believes in her experience of that time. And, yeah, I. I also. I also think, like, it. It felt cruel. It felt cruel to. To be ahead of Agnes at any point. I wanted us to be emotionally with her and not ahead of her. Like, I wanted her to be able to share what happened to her when she feels safe, which is with Lydia in this bathtub, but not before that. Like, we shouldn't know something she doesn't know. So, yes, it was kind of the ethos of the film exists in that image. And we spent a lot of time, me and my dp, Mia, Chofi Henry, we spent a lot of time figuring out her travel back to her house and how to keep her face concealed and to just have this big moment of vulnerability when we finally see her face, and that is when she feels safe. So a lot. We were trying to take care of her through that time.

[A]

What do you think happens to Agnes.

[D]

In the future?

[B]

Yeah, you know, or in the film. It's like, is she stuck? Does she not want to remember? Does she only want to remember sometimes? Is she cut off from feeling what happens to her?

[D]

You know, I think she's moving at a pace that is glacial and that's all she can do. And I think the idea that she served, that she survives in a daily way, is quite heroic for me. And it was a real choice and joy to be able to give Liddy this sort of explosion of experience in these five years. She goes from not knowing she's queer to kind of bursting to New York and being who she is. And then she gets to, like, have this manifestation of this love in this physical way. And she has so much happen. And that, to me, was exciting to give her that kind of love story. But then also side by side with Agnes, it sort of highlights. Agnes is seriously trying to. To get. To get through today. And the image of the film I always had before we made it, with Agnes as this person who's staring out of a window, looking outside. And two things are true at once, which is that she desperately wants to leave and be a part of the world, but she desperately wants to stay inside and not engage because it's too much out there. So I think many things are happening at once, but it's about sort of. She does get up and she does do her things, and she has moments of real joy and relief amongst the hard moments and that. And that is, I guess, what it is to be here. I'm trying to figure it out still.

[B]

But I have to ask about this woman, Natasha in the film.

[D]

Yes, sure. Let's go.

[B]

Natasha is a grad school cohort who is so wildly jealous of Agnes and of everything. She's just jealous, period. That is how you would describe her. How does Natasha's jealousy help us understand Agnes a little better?

[D]

Well, I do believe Natasha is a mirror, as are many people in the film. But. But I think we all are her. Like, I think we all have her in us, and she happens to be Agnes's Natasha. But Agnes is a Natasha to some. You know, we all. We all are Natasha, I think. And, yeah, I think hopefully what happens in the film is that you see this person and you're like, man, she is not functioning in the way that she needs to function. She is distancing people, Natasha, I mean, and she is totally jealous and acting totally bizarre. And then we get this sort of moment later on in the film where hopefully a bit of complexity opens itself up to us and we understand a bit how she got to be so, so weird because she's been having to function and had her own experience with this professor that. That we kind of get a little moment of insight into. And I. I hope that it feels like we've been judging someone for how they're acting, and really they are going through something as well just alongside Agnes, and Agnes is who we are looking at. But if we moved the world, like, Natasha would be the hero, you know, and that. That always meant a lot to me. And Kelly McCormack took that role and just, like, flew with it. And her outfits are all Kelly and Emily, the costume designer. And I think that I wrote the role in Inspiration. There's, like, a character in Three Sisters named Natasha Chekhov's Three Sisters that I love. Such a deliciously devastating character. And then also in Singing in the Rain, the character of Lina Lamont was also a model.

[A]

She's my favorite.

[D]

She's the best character we have.

[B]

And I can't stand him.

[A]

She's the best.

[D]

And San. He's. She's just so perfect. And. And there's, like, that scene where she goes into RF's office and singing the Rain. She's like. It says it right there, like, in the newspaper. And she's so happy and seeing her smile. And Kelly, she got more money than.

[A]

Calvin Coolidge put together.

[D]

Put together? No, she's perfect. And, like, there's this moment where Kelly, who plays Natasha, comes into the office. And we finally see her smile. And there's just, like, intensity to seeing this character smile for the first time. And Lena does that too. And so, yeah, I'm glad you know Lena. It's very. It's a very special role. Yes.

[B]

Before I let you go, this is a nice segue into the music from the film.

[A]

The music is being released on vinyl.

[D]

Yes. It's so exciting. I mean, Leah's score is, in my opinion, transcendent. And it completely made the film whole in a way that I could have only dreamed of. And, yes, it's coming out on vinyl and there's notes from me and Leah in it, and they put a bunch of their temp tracks in it. So you get a sense of how I want to say the sausage got made, but that doesn't seem like a thing I want to say, but I'm saying it. And there's also, like, a very psychotic voice note that I took when I was driving on a highway trying to explain something. So you get a lot of insight into it. And it's printed on the New England Blue sky vinyl. So I'm feeling very excited.

[A]

Yes.

[B]

And people can get that soon.

[A]

Yes.

[D]

I don't know when, but seriously, they're gonna get mad at me for not filming, but soon, I swear.

[A]

That was Ava Victor talking about their film Sorry, Baby. That vinyl pressing of the score is available now from the A24 shop. And the film is nominated for Best Feature, Best Director, Best Screenplay, and Best Supporting Performance for Naomi Acke. Coming up, we'll talk about Peter Hujar's Day with director Ira Sachs. The film was nominated in five categories at this year's Independent Spirit Awards. Hear about it next.

[B]

This is all of it.

[H]

With VRBoCare. Help is always ready before, during, and after your stay. We've planned for the plot twists, so support is always available because a great trip starts with peace of mind.

[G]

This is Ira Flato, host of Science Friday. For over 30 years, the science Friday team has been reporting high quality science and technology news, making science fun for curious people by covering everything from the outer reaches of space to the rapidly changing world of AI to the tiniest microbes in our bodies. Audiences trust our show because they know we're driven by a mission to inform and serve listeners first and foremost with important news they won't get anywhere else. And our sponsors benefit from that halo effect. For more information on becoming a sponsor, visit sponsorship.wnyc.org.