Lo siento, cariño

Eva Victor's story highlights Agnes's journey post a traumatic experience as life moves on. Agnes tries to move on but the trauma doesn't let her while she really is unable to take legal course of action. The story focuses on her emotional journey as she acknowledges the bad thing that happened to her and tries hard to live with it. The world is such, thet bad things just happen and it is never easy being a woman in the said world.

This is the kind of film that rendered me speechless. It started off casually with an overdose of the F words which helped showcase Agnes's bond with Lydie. But the 5 minute scene of her confiding to Lydie over what really happened, made me sit up. What followed next was simply terrific piece of writing and execution. Eva brought Agnes's character alive and her way of dealing with what happened was simply holding a mirror to us, the viewers. This is not the film about Agnes fighting for justice but a film about her fight to survive, move on and worse, accept the bad thing. The way she pushes herself to learn to live with it, was indeed a tough watch.

What makes the screenplay terrific is how Eva Victor tries to insert humor into the narrative. I felt sad with Agnes while having a chuckle now and then despite the grim moments. She really struggles to get on with her life and hyperventilates, which is a normal thing that one expects from her. Then the narrative shifts to showcasing that the bad thing just happens and Agnes has to live with it, leaving us the audience to accept the very thing as normal. It's infuriating to feel the helplessness of the character but also hold onto the hope of her pulling through. The rest of us are like Pete, while the countless Agnes' are made to move on with their lives and apologizing for the world we have created.

I really wanted to like this movie. However it felt like a movie that existed only because of the harshness of the subject matter, that of which is not explored very much in the film. There is not really any tension in the film, nor any real sense of storyline. It is basically just a slice of life tale but actually several slices that aren't that intertwined, and most of the plot points felt completely unimportant. You could edit this film down to 30 minutes or less, and it would probably be a lot better. I also felt like the movie could've leaned into Eva's quirkiness more, there were a few funny moments but not nearly enough. Some decent cinematography though and Naomi Ackie is always great. (6.2/10)

Sorry, Baby is a slow burn-it takes its time to build tension, and for a while, you're not quite sure where it's going or what it's about. But that's what makes it work. The early pacing is essential; it lets you settle into the characters and truly get to know them before the tension creeps in and the stakes start to rise.

The acting is incredible-subtle, restrained, and deeply natural. It's a masterclass in quiet, grounded performance. There's a scene where the lead delivers a monologue in the tub, and it doesn't feel like she's reciting lines. We're with her in that memory. We're seeing what she saw. I got the sense that some of the film may have been improvised, but if so, it only added to the realism. The whole film has a lived-in, organic quality.

That said, a few of the smaller supporting roles toward the end didn't quite land for me and briefly took me out of the experience. And I'm still unsure what Agnes wanted-what her internal drive was. There's such beautiful artistic depth here, but I couldn't fully grasp what was pushing her forward. Then again, maybe that's the point, as hinted in the final monologue.

There's also powerful symbolism throughout. One moment that stood out was her driving, the headlights trailing behind her like a new memory that will chase her forever. Another was the way the passage of time was expressed through visual shifts, especially at the professor's home. These moments are executed with both restraint and emotional weight.

The film resists cliché. One of its most striking choices is its sense of timelessness. You can't quite place what year it's set in-there are no cell phones, the clothing is neutral, and her thesis is typed on paper rather than submitted digitally. If I had to guess, I'd say 1998. I caught a glimpse of an older New York license plate that reinforced that impression.

Ultimately, Sorry, Baby delivers a quiet but profound message about humanity: we have to be prepared to live in an imperfect world. We will get hurt-that's just part of it-but we have to find a way to keep going.

Sorry, baby indeed. Such is the lot of women.

This movie is a little polarizing here, I read glowing reviews and "not that impressed" reviews. Decided to trust some and try it out. I can say now that I do understand both sides actually. It is messy. The whole thing is messy because the "thing" can only be messy so each woman is probably her own special mess in the case of the "thing".

So it's disjointed, illogical and all sorts of things, as it should. The title chapters are hilarious but they make sense. I don't really like Agnes, but I don't have to for this. I don't understand her but I am glad that I don't. The irony of those college ladies stating they understand her. The almost outraged entitlement of that doctor when confronted with unexpected answers and reactions. And the juror selection scene.

What I liked best about this movie was the meeting with the middle-aged man in the parking lot. That was the point where this movie broke me and I started sobbing uncontrollably. Something about his kindness, about his being a decent human being. Sad in a way that that would move me to such an extent. Also Agnes and the baby at the end, but maybe that man still...

Sorry, Baby is one of the most nuanced, simple yet complex telling of the effects and aftermath of a traumatic event in the life of a bright, energetic and youthful woman. Beautifully written, directed and brought to screen with a very balanced, sensitive and realistic performance by debutant Eva Victor. The movie is truly deserving of its premiere and writing award at Sundance and being the closing movie of the director's fortnight at Cannes.

Eva Victor tells her story in a non chronological manner by moving forward and backward in time through five specific chapters representing five very different years of her life. This non linear approach highlights her emotional journey and augments the story telling significantly. The story is simple and the pace of the movie is slow but it is this slow pace and focus on the lead characters subdued emotions when alone mixed with phases of elation when in the company of her best friend that makes the movie so effective.

Eva does a brilliant job channeling the emotions of disappointment, disillusionment, isolation, grief, anxiety and anger mixed with those of hope, resilience and healing. At no point it appears that she is acting and that is what makes her performance and the movie special. Don't expect any cinematic fireworks as Eva makes the audience truly experience the lead character's emotional journey through trauma. Delicate, authentic and realistic. 8/10.