Eva Victor’s Sorry, Baby is a sharply observed, emotionally incisive work that blends humor with vulnerability to explore the messiness of modern relationships and the type of entanglements that could push just about any human being into a psychological/physical dark corner. Through Victor’s signature mix of wit, self-interrogation, and finely tuned dialogue, this feature debut examines the quiet catastrophes when we mistake validation for intimacy. Her writing is at once tender and acerbic, capturing the disorienting oscillation between confidence and insecurity that characterizes so much contemporary romantic life. What emerges is a portrait of longing that feels both deeply personal and instantly recognizable. It was the last ever film I’ll watch at Sundance located in Park City — a perfect swan song to leave on.
A24 released the film this summer but with indie awards season in full swing I had the chance to speak to the filmmaker. Among the top films out of Sundance (it was also selected for the Directors’ Fortnight section in Cannes), seeing that she tackles the film three-pronged — she takes centerstage in front of the camera, she wrote the material and directed so I wanted to know how she tested the waters in the first reads of the screenplays and I wanted to know about veteran indie producer Adele Romanski’s weight and support on the project. Here is a quick pair of questions for Eva Victor.
