The Year With The Baby

Lia Ouyang Rusli

The film opens with Agnes and her best friend Lydie reuniting in snowy New England. They joke and catch up with genuine warmth, masking Agnes’s inner struggles. The gentle score sets a bittersweet but hopeful mood, echoing their shared bond.

Agnes and Lydie

Lia Ouyang Rusli

Early in the film, Agnes and Lydie banter intimately, poking fun at sex and their lives. The playful, off-kilter score underlines their candid friendship and their tendency to find humor even in awkward, painful topics.

Across the Field

Lia Ouyang Rusli

During a quiet moment, the music plays as Agnes confides in Lydie about her pregnancy and feelings of fear and hope. The calming tune underscores the vulnerability, uncertainty, and comfort between friends navigating life changes.

An Empty Feeling

Lia Ouyang Rusli

Agnes is in the aftermath of her assault, emotionally numb and isolated. The music’s feeling of emptiness matches her inability to process what happened, underscoring the void and shock she’s experiencing alone before confiding in Lydie.

To The Lighthouse

Lia Ouyang Rusli

Agnes is shown Decker’s prized first edition of To the Lighthouse during a meeting about her thesis- symbolizing trust, mentorship, and literary connection, but also foreshadowing the betrayal. The song’s delicate notes highlight the vulnerability of that moment.

The Year With The Bad Thing

Lia Ouyang Rusli

Agnes drives at night, the darkness outside mirroring her turmoil within. After the assault, she recounts the events to Lydie in painful detail, her voice caught between remembering and trying to distance herself from what happened. The car feels both confining and adrift, headlights cutting through emptiness as Agnes struggles to process the trauma. The music swells with mournful tones, highlighting the abrupt loss of innocence and how deeply trauma lingers, intruding on every quiet moment.

We Are Women

Lia Ouyang Rusli

Agnes reports Decker to college administrators, but they claim solidarity—"We are women"—while admitting they can do nothing. The music ironically underscores this hollow support, amplifying Agnes' frustration with institutional inaction.

The Next Morning

Lia Ouyang Rusli

Agnes wakes up the day after reporting the incident. She adopts a stray kitten, searching for comfort and distraction. The song’s soft mood mirrors her tentative steps toward healing, bridging trauma to small, restorative moments.

Ben Franklin

Snail Mail

Plays in the background of the grocery store.

Cover the Window

Lia Ouyang Rusli

Agnes begins covering her windows, hypervigilant and anxious. The scene shows her trying to regain some control over her space; the music’s hushed tone matches her need for protection while hinting at how trauma quietly reshapes daily routines.

The Year with the Good Sandwich

Lia Ouyang Rusli

Agnes in jury duty.

Being Gay and in Love

Lia Ouyang Rusli

Voiceover conversation of Lydie joyfully telling Agnes she’s in love with Fran as Agnes stares at the notes on her window.

Gavin Will You Come Fuck Me

Lia Ouyang Rusli

After a turbulent night, Agnes impulsively reaches out to her neighbor Gavin for sex, searching for intimacy or distraction. The song catches the awkward, vulnerable, and slightly comedic energy as Agnes attempts to reclaim agency over her own body and choices.

Bathtub

Lia Ouyang Rusli

Agnes and Gavin share a quietly vulnerable moment in the bathtub—awkward, funny, but honest. The music is soft and disarming, reflecting both intimacy and Agnes' anxiety about physical closeness post-trauma.

Sorry, Baby - Piano

Lia Ouyang Rusli

End credits.

Sorry, Baby - Electronic

Lia Ouyang Rusli

End credits.

The Year With The Baby

Lia Ouyang Rusli

End credits.