Sorry, Baby

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.

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.

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.

Greetings again from the darkness. Once it became a bumper sticker, it also became a cliché. "Stuff" happens. It happens to each of us. Of course, the degree to which something bad affects us is a personal matter, and how we deal with it determines the impact on our life. A traumatic event will stick with us forever in what's best described as the aftermath. Although we get some backstory, first time writer-director Eva Victor focuses on the aftermath, and the result is a realistic, grounded, and emotional expose' of one woman's journey to dealing.

Much of the brilliance of the film is derived from the performance of the filmmaker, Eva Victor, as Agnes. Victor built an online following thanks to some comedy shorts, yet it's on screen where this unique and ground-breaking talent truly arrives. Presented in five chapters, the story is told in mostly chronological order, except for the first segment which establishes the utter closeness of friends, Agnes and Lydie (Naomie Ackie, BLINK TWICE, 2024). The two were graduate school classmates, with Lydie moving on to New York City while Agnes remained to become a professor at the small New England school they attended.

We learn that the two besties shared a thesis advisor in Preston Decker (Louis Cancelmi, KILLERS OF THE FLOWER MOON, 2023), and he viewed Agnes as a brilliant student, and Lydie as a bit less. In a genius bit of filmmaking, we see the evening when Agnes is sexually assaulted, and that's followed by a visceral scene in which Agnes describes the event in excruciating detail to Lydie. It's an event that Agnes carries with her, ultimately driving an incredible scene with Lydie's newborn baby. Other memorable players here include fellow graduate student Natasha (Kelly McCormack, "A League of Their Own"), whose no-filter rudeness and jealousy contribute to her scene-stealing; Gavin (Lucas Hedges, MANCHESTER BY THE SEA, 2016) as Anges' neighbor with benefits; Fran (E. R. Frightmaster, "Grey's Anatomy") as Lydie's spouse; attorney Eleanor Winston (Hettiene Park, DON'T LOOK UP, 2021), who conducts Agnes' jury pool interview in a powerful scene; and Pete (John Carroll Lynch, FARGO, 2996) as a good listener and proficient sandwich maker in another of the film's best scenes.

That should seem like a lot for one movie. It is. Key elements here include a cat, a sandwich, a mouse, lighter fluid, and boots. The film is filled with direct talk - Agnes says things out loud that many of us think to ourselves. She is a bit of all of us ... with a deadpan delivery that sometimes finds the humor in the worst moments. Eva Victor will likely remind many of Phoebe Waller-Bridge of "Fleabag" due to her look and height, and there is no denying the talent on display. The scene with Agnes speaking directly to the baby hits home, and the words are those we would all appreciate at any stage in life, but certainly in the aftermath of one of those bad times as we attempt to move on.

Opening in theaters on July 18, 2025.