Tucked away in the corner of the Chateau Marmont garden on a sunny Friday afternoon, Eva Victor, dressed in black, shares the story of how they stumbled into comedy unintentionally. The narrative begins at Northwestern’s prestigious theater program, where Victor had aspirations of performing Chekhov and Euripides. However, they found themselves constantly met with laughter when attempting serious monologues. “It was so upsetting,” the 31-year-old writer-director-actor recalls in a dry deadpan tone, highlighting the inherent comedic nature they possess.
This “problem” of being naturally funny is what makes Victor’s directorial debut, “Sorry, Baby,” so captivating. The film seamlessly transitions from moments of humor to heartbreak. The plot revolves around Agnes, a graduate student turned English professor played by Victor, as she navigates rebuilding her life after a traumatic event referred to only as “The Bad Thing.” Known for viral comedy videos and a role on the Showtime series “Billions,” Victor now adds “auteur” to their resume with “Sorry, Baby.” The film, produced by Academy Award-winning filmmaker Barry Jenkins, premiered at Sundance and was acquired by A24 for approximately $8 million. It is set to hit theaters in June, featuring Naomi Ackie and Lucas Hedges alongside Victor.
Victor, who identifies as nonbinary and uses they/she pronouns interchangeably, challenges societal norms by embracing the fluidity of their identity. They describe nonbinary as existing in the space in-between, a concept that many find uncomfortable. “The idea of, ‘I can’t totally figure you out,’ is a huge gift to give to yourself,” Victor explains. Their refusal to be confined to a single label extends to their film, which Victor believes transcends traditional genre boundaries. While the movie touches on both drama and comedy, Victor rejects the label of “traumedy” and humorously threatens any reviewer who dares to apply it.
Lucas Hedges, who plays Agnes’s neighbor Gavin, recognizes the uniqueness of “Sorry, Baby” from its inception. He praises Victor’s ability to create a film that feels both familiar and original, devoid of direct imitation. The core of the film lies in the friendship between Agnes and her best friend Lydie, portrayed by Ackie. Lydie serves as Agnes’s anchor, injecting energy and laughter into her life, preventing her from spiraling into despair. The genuine friendship between the characters is a source of both humor and emotional depth in the film.
The character of Lydie is based on a real-life friend of Victor’s, someone they have known since their teenage years. This deep connection is reflected in the on-screen chemistry between the characters, capturing the essence of a friendship that withstands the test of time. As Ackie recalls filming a scene where the two friends discuss intimate topics with laughter and tears, it becomes evident that their bond transcends the screen.
In addition to their creative endeavors, Victor remains candid about mental health, emphasizing the importance of acknowledging anxiety and depression. They challenge the notion of perfection and encourage embracing one’s multifaceted nature. Victor’s openness extends to their personal style, as seen in a candid photoshoot where they wear a Miu Miu jacket, shirt, and skirt, exuding confidence and authenticity.
Eva Victor’s journey from theater student to acclaimed filmmaker is a testament to the power of embracing one’s unique voice and breaking free from societal constraints. Their ability to seamlessly blend humor with profound storytelling in “Sorry, Baby” showcases their talent and creativity. As the film prepares for its theatrical release, audiences can expect a refreshing and thought-provoking cinematic experience that defies categorization and celebrates the beauty of embracing one’s true self.
