Sorry, Baby

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.

Films that explore similar themes (isolation, sexual assault, and trauma) often emphasise drama or strong emotional undercurrents to make a strong case for their cause; however, 'Sorry, Baby' takes a different approach.

The execution is remarkably realistic, free from superficiality or unnecessary exaggeration. While this grounded representation may occasionally appear dry or unstimulating, however I believe the dialogues; specifically the interactions between the characters ere able to convey deeper meanings that transcend traditional storytelling methods.

I appreciate how the nuances of an inexpressive character enduring profound pain and feelings of alienation from friends and society are effectively portrayed through Eva Victor's understated performance and as both the writer and director of the film, she clearly grasped the essence of the narrative well and executed it with sincerity and care.

My only reservation pertains to the occasional inclusion of humorous undertones, particularly given the film's serious, grim subject matter. Whilst this choice was undoubtedly intentional, I find it difficult to fully embrace it.

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...

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)

Beautiful acting by the lead, but the script lacks full development of the characters. Hard to understand main character's motivation. No development of origin. Also, she has no family. Why?

Lastly, portrayal of males was 1 dimensional and unbalanced. We see the sociopath, the nice but weak guy, the main doctor, and the strangely helpful but random older man. But we don't have the presence of one strong male in Agnes' life. That would have made this movie much better and more balanced.

Without that, you get a gut punch of having watched something really terrible happen to a nice person without any real good explanation and without enough redemption.

As such, it was unpleasant without enough redemption.