Dir: Eva Victor
Cast: Eva Victor, Naomi Ackie, Louis Cancelmi, Kelly McCormack, Hettienne Park, E. R. Fightmaster, Lucas Hedges, John Carrol Lynch
Writer-Director Eva Victor thoughtfully explores a challenging subject in this black comedy that cleverly balances sombre post-traumatic drama with quirky indie satire
In her feature-length debut, writer-director Eva Victor explores the challenges of life and how, if one is fortunate, it’s possible to move on from difficult experiences. Victor also stars in their independent film, which is unsurprisingly produced by A24, a company known for its work in the indie film space, and “Sorry, Baby” falls squarely within the vision of this esteemed production company.
As Victor embarks on their first feature film, they take bold creative risks in telling the story of a young woman who becomes a victim of one of the many unfortunate events that occur every day in society, a theme that has persisted throughout human history. Tackling such heavy subject matter is a significant challenge for any filmmaker starting their career, yet the way Victor presents the narrative offers a unique approach.
Remarkably, the young director exhibits a level of nuance that exceeds their years by skilfully balancing sombre dramatic elements with light-hearted comedy. This careful approach makes what could have been a difficult film to watch much more approachable and relatable.
The film showcases non-linear storytelling as it follows young and intelligent literature professor Agnes (Victor), who has recently secured a permanent teaching position at the liberal arts college where she once studied in New England. Agnes is an isolated individual living alone in the quiet rural countryside with her cat, and occasionally visited by her only true friend, former fellow graduate Lydie (Naomi Ackie).
Told over several chapters that highlight pivotal moments in Agnes’s life, we learn that she was sexually assaulted by her own literature professor, Preston Decker (Louis Cancelmi). The film explores Agnes’s attempts to move on and cope with the shame and trauma she experienced during the fateful encounter in college.
Although the film’s marketing campaign doesn’t explicitly reveal what happened to Agnes, it heavily implies that she is one of the countless women subjected to sexual assault. The title of the movie stems from the character’s expression of regret, as she apologises to a baby for being born into a messed-up world where bad things happen and will continue to happen. Unlike many films that tackle the subject of assault, “Sorry, Baby” demonstrates a remarkable amount of restraint, grounding the story in reality. This choice heightens the impact of the unseen crime against Agnes. There is no quest for vengeance or prosecution against her assaulter; rather, the traumatized but emotionally intelligent Agnes recognizes that reporting the crime will only ruin another man’s life without aiding her own healing journey. Some viewers may find this grounded, thought-provoking coming-of-age approach less satisfying since it leaves the guilty party unpunished. However, this aligns with the message Victor is trying to convey: that sometimes the world is not fair or satisfying, but just a terrible place to be.
The heavy themes are perfectly balanced by the humorous coming-of-age narrative that follows Agnes on her journey of self-discovery and emotional growth. She understands she can’t run away from her traumatic experience, so she continues to live in the same isolated woodland house from her college days and even occupies the very office that her assaulter once held when he was her professor. Instead, Agnes aims to move on from her “bad thing,” which is something so few people are able to do. With the warm and endearing support of Lydie, who constantly looks out for her, and the presence of a grey street cat she has taken in for companionship, Agnes strives to carry on with her life as if nothing happened three years prior.
Cinematographer Mia Cioffi Henry beautifully employs muted natural lighting and framing to capture Agnes’s ever-changing emotional state. The scenes set in the present day convey her isolation, as those around her fail to understand what she is going through. One particularly striking scene that balances dark humor with a serious examination of sexual assault occurs when Agnes meets with the college’s disciplinary board following her accusation against Decker. They reveal they cannot investigate or punish him because he handed in his notice prior to Agnes’s allegations. A similar encounter with a frustratingly unsympathetic doctor is sure to annoy viewers as we observe Agnes becoming increasingly isolated from her community.
Only a handful of locals sympathize with her, notably her neighbour Gavin (Lucas Hedges) and kind-hearted sandwich store owner Pete (John Carroll Lynch), both of whom offer genuine support unlike the superficial attempts she has previously encountered.
The Verdict:
While it may not deliver the emotional payoff many would expect from a film about a young woman’s traumatic experiences, Eva Victor has crafted a meticulous comedy-drama in the aftermath of a truly horrific ordeal. By integrating genuinely funny moments, what could have been a bleak story about the harshness of the world becomes much more enjoyable, all without undermining the film’s central themes of trauma and healing.
Sorry, Baby is showing in UK Cinemas from 22nd August
Dan Loves Film 
First I’ve heard of this one. Thanks for the heads-up, Dan.
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