Sorry, Baby

I've seen this twice now (Sundance and LA premier), and what struck me on the second viewing is how cozy this movie is, despite the circumstances of the plot.

At my second screening, Eva Victor did a Q&A and emphasized how important it was for her to make sure the audience felt safe and she parsed through this story, and to avoid any depictions of violence onscreen.

This translated pretty clearly, as the warmth and love from friends, strangers, and new love interests help guide Agnes through the pain, guilt, regret, and distrust.

Also, awesome depiction of the Cat Distribution system. 10/10 cat.

This is another film where I have a ton to say, but don't want my original thoughts getting lost in a giant pile of word vomit while I try and put the thoughts to the page.

Very clearly: I am not a woman, and have not gone through the specific type of trauma that takes place in this film. That said, I am a human being and have experienced a multitude of what many would consider to be out of the norm excessive traumas in my life, from an ex partner committing suicide to losing a brother to an accidental fentanyl overdose.

Trauma is something I believe until recently in this country, was an issue that was somewhat a shoved aside, something that wasn't talked about, something that in my parents day (I'm 43), would even be something to be embarrassed about. I'm sure all our Gen X parents were told to 'Man up' at some point in their lives.

Having gone through these very personal traumatic situations in my life has had a tremendous effect on who I am as a person, and how I deal with the outside world, and how I am able to control my own inner thoughts and emotions.

This is an incredible directorial debut from Eva Victor, who like many other found during 2020 while we were all stuck at our homes, and who in a very dark sarcastic way was able to breath some life and laughter into our minds during that psychotic year (also the year my brother passed).

With this film Eva paints around an act of force so intense and so heavy, without ever actually naming the act, but what she brilliantly shows you as a viewer is what becomes of someone who has experienced trauma throughout the following years, whether it be through moments of pure fear, moments of unwilling panic, moments of using laughter to continue to grieve, and moments of pure unadulterated pain.

I've been through these moments in my life, and I am thankful this film exists, as if you have not experienced heavy trauma in your life, this helps paint the portrait of what it's like for those of us who have.

I love the control of tone throughout and how it remains somber while allowing moments of breaths of fresh air through sarcastic comedy to allow your brain to take a breather.

The film executes a non-linear path that bookends itself with a monologue that I will definitely be reading over again and going back to in moments of solitude where I need to remember that even though trauma exists in my life, there are ways to pass through to get to the light at the end of the tunnel.

I'm looking forward to more from Eva Victor. Fantastic, touching work here.

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.

Rating: 9/10 Stars

Eva Victor's "Sorry, Baby," released in 2025, is a masterful and surprisingly resonant film that deftly navigates the complexities of trauma with an unexpected and often hilarious touch. This isn't your typical heavy-handed drama; instead, it offers a refreshing, darkly comedic lens through which to explore profound human experiences, particularly the aftermath of sexual assault.

The film's greatest strength lies in its wonderfully crafted characters, who feel remarkably authentic and lived-in. Agnes, the protagonist (played with nuanced brilliance by Eva Victor herself), grapples with a past "bad thing" that has left her somewhat emotionally stalled. Her journey to reclaim her life, however, is far from a straight line, and it's in the messy, often absurd detours that the film truly shines.

Among the standout performances, Gavin (Lucas Hedges) emerges as a genuinely heartwarming presence. His kind-hearted, somewhat clumsy demeanor provides a vital counterpoint to Agnes's internal struggles. Their budding relationship, depicted with a delicate blend of awkwardness and sincerity, offers moments of tender vulnerability and much-needed levity. Gavin's ability to "sense" Agnes's pain without prying, offering quiet support and respect, makes him a truly memorable and endearing character.

Then there's Agnes's feline companion, Cat (or Olga, as named in some reports), who, despite being an animal, plays a significant role in mirroring Agnes's journey. The film cleverly uses the interactions with her cat, including a particularly unsettling yet darkly humorous scene involving a mouse, to symbolize Agnes's own struggles with control, empathy, and the often-unpredictable nature of life itself. The cat is more than just a pet; it's a silent witness and a catalyst for subtle emotional shifts.

What sets "Sorry, Baby" apart is its bold and incredibly effective use of humor to deal with such a weighty theme. The script, also penned by Victor, understands that life, even in the face of profound pain, is replete with the ridiculous and the mundane. From socially unaware doctors to bureaucratic hoops, the film finds moments of genuine laughter in situations that would, in other hands, be purely somber. This tonal balance is a delicate tightrope walk, but "Sorry, Baby" manages it with grace and unflinching honesty, making the film not only impactful but also incredibly watchable. It allows the audience to breathe, to connect with the characters on a human level, and to find solace in shared experiences, even if those experiences are tinged with darkness.

"Sorry, Baby" is not just a film about recovery; it's a testament to the resilience of the human spirit, the unexpected sources of comfort, and the power of finding humor in the unlikeliest of places. It's a vital, surprising, and deeply moving cinematic experience that will undoubtedly leave a lasting impression. Highly recommended.

Watched at the 2025 Sundance Film Festival.

Gosh, where can I begin? This movie is both hilarious and heartbreaking as it perfectly portrays of both the drama and comedic moments of life despite the harrowing situation that has been encountered. Eva Victor, who directed and acted, crafts an incredible drama that becomes a good character study of finding ways to move on with great dialogue, character dynamics, performances, and direction on the tone and atmosphere throughout.

Presented with good realistic camerawork, structure, and editing, the movie handles it serious themes solely and perfectly. Including great characters, atmospheres and cunning dialogue that are presented throughout the story that achieves the realism and nature approaches or life. There are some dialogue moments that are still burned into my memory which shows how good the dialogue is. Each conversation, choices and structure is held perfectly from Victor with each pacing moment feeling balanced, tone being focused and a good sense of humane style of life. No moment there was something that felt out of place, cheesy or unrealistic.

Eva Victor might be a new voice in cinema pretty soon and I do hope Victor is able to get the chance to shine soon.