Lo siento, cariño

Agnes (Eva Victor) is a student who experiences something bad with her professor Preston Decker (Louis Cancelmi). As she tries to heal from this she experiences many different types of relationships over the years from close ones with her friend from college Lydie (Naomi Ackie), to the saviour complex between her and a mouse that her cat Olga (Noochie the cat) brought in years later.

I won't be so arrogant as to say I understood the nuances of the film, although I recognise that Eva Victor who also wrote and directed the film, was saying something about the relationships we have with people and how the communication between us can be very different and layered. Who you are with one person is not who you are with another. There is a fluid dynamic of personality in and between relationships. I suspect that's why nabokov's book Lolita was discussed in the film: there were very different dynamics and power levels in the relationships within the story of Lolita.

It's not a film where you come out of the cinema and say "wow that was fantastic." It's more of a film you come out of the cinema and you remember lines from the film, and scenes form it for weeks, as you piece everything together and apply it to your own life. Who are you and who are the people in your life?

Victor's presence on screen is amazing and her acting skills sublime; I've never seen her before but I will certainly look at some of her other work. Her direction was amazing and not a single moment of the film was wasted. Some of the shots and scenes were pure art.

Suffice to say I loved this film and everything about it, I gave it a solid 8.

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.

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 have never walked out of a film before, but I almost did. I'm glad I did not as the film won me over. At first, the absurdly goofy and one dimensional characters and dialog was a turn off. I certainly don't know anyone above the age of ten that acts/talks that way. And the costume "designer" should either never work again, or get an Oscar for the impossibly tasteless and frumpy outfits the lead and a few other actors wore.

But as it settled in, the quiet tone and the lead's obviously neurodivergent behavior made more sense. And the subsequent scenes with her next door neighbor "boyfriend", the sandwich shop owner and the baby at the end of the film were sweet. Ultimately, I got a viewpoint that made me think about it later, and that is what makes art worthwhile.