Sorry, Baby

Als Hauptdarstellerin, Regisseurin und Drehbuchautorin erzählt Eva Victor das Drama der 28-jährigen Intellektuellen Agnes, die nach einem sexuellen Übergriff auch noch in die Zwickmühlen universitärer Rivalität gerät. Agnes ist, im Gegensatz zu ihrer besten Freundin Lydie, die zu Besuch aufs Land kommt, eine unbeholfene Figur, was sich auch formal in einer fragmentarischen Struktur widerspiegelt. Rund um das Horrorfilm-Motiv des abgelegenen Hauses und mit (eventuell unbeabsichtigten) Verweisen auf eine spezifisch US-amerikanische Prüderie verhandelt Victor die Frage, wo Konsens endet und Missbrauch beginnt. (Anna Katharina Laggner)

Comedian and actor Eva Victor’s feature debut doesn’t explore the grief triggered by some unavoidable catastrophe like illness, death, or fate, but rather by an act of deliberate harm that one person inflicts on another. When someone choses to do something to you against your will, what does everyday life look like afterwards? The film shows episodes big and small in the life of Agnes (played by Victor) over a period of four years, one chapter per year. These episodes are concise and non-chronological, with a structure that functions according to its own intelligent logic. Time flows in and around these events, time for friendship, lovers, studying, reading more than usual; time for work, frenemies and chance encounters; time for sandwiches and great wisdom. What feels masterful about SORRY, BABY is its ability to portray something as unyielding as time with such fluidity, both delicate and free. Its grace lies in how it combines drama and comedy in a way that is not strident, but rather awkward and beautiful. A character full of wit and sharpness, Agnes experiences some terrible situations, seeing all that is strange and ridiculous in the conventional. She also experiences everyday moments of tenderness as if they were a miracle. (Lucía Salas)