Sorry, Baby ★★★½

It’s quite rare you see content creators able to pull off a transition to filmmaking, due to differences in medium and craft. However, if there’s one film that will be destined as this year’s hidden gem, this one might be it. A delicate representation of healing, Sorry, Baby highlights what it takes for a person to move on from a sensitive event emotionally, fueled by a harrowing performance and a raw slice-of-life direction from promising filmmaker Eva Victor. 

Sorry, Baby follows Agnes, a late-20s university professor who is struggling to recover from a traumatic sexual assault that rocked her life. The film is divided chronologically through years, allowing viewers to get a long-term glimpse into her thoughts and routines, making for a somber yet naturalistic approach structurally. 

Much more traditional than a usual debut feature, Sorry, Baby handles a deep topic with the grace it deserves, focusing on how a violation of someone’s basic bodily anatomy can lead to scarring, sadness, and shame upon an individual. Neither too brash nor shallow in its approach, Sorry, Baby takes a life of its own in showcasing what recovery looks like in a society that is always on the go. 

Eva Victor’s handling of Agnes is nothing but excellent, as she creates a persona that feels rawly energetic yet wounded internally. As you get to know Agnes throughout the film, it becomes clear that her personality is the emotional core of Sorry, Baby, shaping her response and journey to healing from the traumatic assault she goes through. 

Naomi Ackie (Blink Twice, Mickey 17) plays Lydie, Agnes’s long-time friend. Compared to high-concept fare she’s been in as of late, her performance comes off as suburban and comforting. The character she plays is very much one to share a comfort moment with, always being open to a hug and willing to give support. Compared to Victor’s direct role, her performance is more bubbly and free-spoken. 

Sorry, Baby’s cinematography, shot by Mia Cioffi Henry, fits the tone of the film beautifully and perfectly captures the gaze of ordinary life. From a grocery store parking lot to a bathtub, Mia knows how to make every moment seem authentic, giving the impression of a high-grade student film. 

Composed by Robert Ouyang Rusli (Problemista), the score of Sorry, Baby is foreboding in parts, yet peacefully calm in others. This boils down to the sensitive topic matter, but I’d say that both are handled extremely well. Graceful pieces of piano flow through Agnes’s house for a peaceful atmosphere, while haunting pulses make up saddening parts of the film.

While not an easy watch, Sorry, Baby is an all-too-rare kind of indie in today’s marketplace, bringing awareness to a traumatic topic while offering a cathartic message that resonates.