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

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.

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).

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)

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

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.

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.

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