Sorry, Baby (2025): An Impressive Debut That Is Not About a Cat

I’ve been hearing buzz about this film since earlier in the year. It was part of a bidding war between A24, Searchlight Pictures, Neon, and Mubi after its debut at the Sundance Film Festival. A24 acquired it for the small price of $8 million, which is impressive for the team behind the project and adds a decent amount of hype to the film, which is why it was on my radar.

And that movie is Sorry, Baby, written and directed by Eva Victor in their directorial debut. She is an American actor, but is better known for her comedy sketches she posts online.

The movie begins with a breathtaking shot of a two-story house, all its windows warmly lit. Headlights approach, and we see a reunion between Agnes (played by Victor) and her old grad school roommate Lydie (played by Naomi Ackie).

From here, the story is presented in non-linear chapters.

In this first chapter, we see Anges and Lydie catching up on life before going to bed. Anges is a full-time English professor, and Lydie is pregnant with her first child.

The pair falls asleep on the couch, cuddled up together, demonstrating their closeness and Agnes’s longing for connection and loneliness.

As the story progresses, we move through different stages of Agnes’s life, flashing back to where “the bad thing” first happened and how it has affected her life.

She meets with her advisor, Professor Decker (played by Louis Cancelmi), to discuss her grad school dissertation, but he leaves to tend to his child and invites her to his house later that evening.

The camera never follows Anges into the house, but we see the progression of light from day to evening to night before she exits.

The camera silently follows her as she heads to her car, hinting that something unpleasant occurred behind those closed doors. She explains to Lydie what happened before visiting a doctor to get checked for sexually transmitted diseases.

The rest of the film is a very offbeat, slice-of-life indie take on how the “bad thing” has affected Anges in almost every part of her life, with no consequences for the perpetrator.

As I mentioned earlier, Victor skillfully incorporates several moments of her comedic talent into the script, which serve to lighten the overall mood. These tender moments not only provide relief but also help establish a deeper emotional connection to the film's underlying message, making its themes more impactful and resonant with the audience.

As dark as this movie sounds, it isn’t the depressing drama you might expect. The connection between Agnes and Lydie is light-hearted and warm, creating moments of hope for Agnes. She also meets a few characters along the way, who are inherently good despite the evil she has experienced from a trusted person.

I didn't really connect with this movie until the final scenes. There is a scene with Agnes and the baby where she is talking to her as if she's an adult.

This monologue really hit me hard, and it's something I think about often with my son. You never want anyone to go through tough times, but it’s sometimes unavoidable.

Although I was somewhat detached from the film, Victor is an outstanding actor who truly made a memorable impact with Sorry, Baby. I had no previous knowledge of Victor before this film, so understanding their background in comedy might have helped me better appreciate the quirky dialogue and actions. Reflecting on this afterward allows me to understand her character more deeply and to recognize their talent and skill throughout.

I also want to give props to Kelly McCormack, who plays Natasha, one of Anges’ fellow graduate school classmates. She was the one who made me laugh the most with her stern demeanor and comical seriousness. She never broke character and hardly smiled, but the way she delivered her lines was humorous.

I especially enjoyed Mia Cioffi Henry's cinematography. The long shots of the houses and tracking shots with Agnes created a sense of wonder and felt very authentic. Moments like these are where I truly connected with Agnes, even when I couldn't fully understand her or her actions.

Sexual assault is a sensitive subject to portray on film. Victor does an excellent job illustrating the fragmented healing process, which is depicted through non-linear chapters. Like grief, recovery is also non-linear and a lifelong burden. There’s no right or wrong way and no time limit.

I am a grieving person, and I tried to use my grief as a way to connect with Agnes. I believe there are many parallels.

I've talked to people who ask, “Why didn’t they tell anyone?” or “Why didn’t they just say no?” It’s so easy for someone who hasn’t been in that situation to say these things. I cannot imagine this film would change that person’s mind, but as someone who understands why it’s hard to answer those questions, I get why it affects so many aspects of Agnes’ life.

It’s a touchy subject, but it's handled with care. While I found the movie's pacing too slow-burning for my taste, it still feels like a wholesome film.

The narrative drifts along with no real payoff. For fans of this kind of indie genre, that may be your bag. For me, I need higher stakes, and this didn't have them. And that’s okay! I see the draw for fans of this kind of cinema and can respect it for what it is. I admire Victor and look forward to what they create next.

Overall, I give Sorry, Baby three out of five stars. It’s an impressive debut from Victor, showcasing confident direction and commendable storytelling, but it’s just not my cup of tea. The film features a beautiful color palette and stunning cinematography that create a captivating visual experience; however, the emotional connection didn’t resonate with me, and that’s the most critical aspect to secure in a film like this.

It’s nice to see A24 broadening its offerings, from elevated horror to more dramatic films. It will be interesting to see what their catalog offers us for 2026.

You can stream Sorry, Baby now on HBO MAX.