Cinema is often used to illuminate the physical and psychological challenges that an individual faces when overcoming a shocking event in their lives, but not much is said about how time stops for those who arduously endure the process. That’s why a camera and a script are powerful tools for someone to talk about a personal struggle in ways that words might not be even be enough to accomplish their message. And with that are movies that can communicate with a naturalistic sense the efforts of a person who longs to move on with their life, much less those that can successfully convey those unspoken feelings from victims of unfortunate events whose lives are suddenly paralyzed from impact.
Nowadays, it takes courage to display a story so confidently grounded that it can resonate with those who are silently fighting their own battles without sounding “preachy” or that it looks and feels like it’s aiming towards the awards. That’s why I find it refreshing whenever an emerging talent in the movie business settles for a simpler approach and tackle their subject matters without the theatrics. Such is the case with writer-director Eva Victor and their feature filmmaking debut, Sorry, Baby, what I consider to be one of 2025’s most memorable films.
A24’s Sorry, Baby Sypnopsis
According to A24’s press site, here is the official synopsis for Eva Victor’s dark comedy-drama film, Sorry, Baby.
Something bad happened to Agnes. But life goes on… for everyone around her, at least. When a beloved friend visits on the brink of a major milestone, Agnes starts to realize just how stuck she’s been, and begins to work through how to move forward.
A24 Press
A Refreshing Change of Pace
Throughout the hour-and-forty-four minute runtime, wherein Agnes must juggle with the rest of her life during the quiet moments while trying to find answers that aren’t there in order to heal, most of Sorry, Baby‘s magnificent storytelling comes to life. Victor’s direction took me by surprise; they produce one of the most surprising films of the year, with a premise that will enamor any viewer with its slower pace and sharp eye for attention to details. They craft a story that points the camera between the intimate spaces that exist during the events of this story. Yet, it’s told in a way that jumps between the befores and afters of Agnes’s story.
Others might classify this film as “slow” or “boring” because of the usual “nothing happens”. However, I tend to differ with these approaches. Silence and pause have been the necessary moments in our lives to heal the wounds that cover our souls. However, what they don’t usually show is how those who go through a critical event start being resilient while the world is on pause and the rest of society continues to happen without one being present; as Agnes tries to navigate the repercussions of that despicable act, she must accept the reality that her best friend Lydie (Naomi Ackie)—practically the only person she can count on—continues on with her life without her.
Here, Sorry, Baby focuses the gaze and connects the audience with the picture’s premise in a profound way. As a natural filmmaker, Victor’s strong discipline captures those quiet moments that moves Agnes’s plot with as little effort as possible, favoring performances and story over any fancy camera movement they could think of at the moment. That doesn’t suggest that the film is ordinary and lacks in the visual department. Director of photography Mia Cioffi Henry’s cinematography is essential in capturing the intimate moments in Agnes’s story in order to get the full picture.
Subtlety Between the Cinematography, Scriptwriting and Acting
The script and the cinematography for Sorry, Baby nurture a unique opportunity for audiences to ditch their smartphones for something that’s as close to real as it can get for modern cinema. The sense of urgency on Agnes’s situation rewards viewers who pay attention to the visual cues that Victor throws in order to fill the blanks. What’s great about their approach is that it’s a very accessible story with a lot of heart and laugh out loud moments for any viewer willing to follow along this black comedy-drama.
It’s the reason why Sorry, Baby shines in its simplicity and uses the well-grounded performances of its cast to nourish this beautiful story, all while Henry uses the camera to move the audience between the different time periods of Agnes’s life up until present day to grab the full picture; a lot of the shots in this movie are breathtaking due to the simplistic nature of each scene that’s being carried.
The Lead Cast of Sorry, Baby
Eva Victor might be the star that shines bright in Sorry, Back, but that can also be said about the incredible support from the rest of the cast that are equally essential to Agnes’s journey of healing. Victor has been vocal on the importance of Ackie as Lydie throughout the film’s festival run, serving as the key performer who grounds this compelling story into the work of art that it is. I would have to agree with the sentiment. Lydie’s presence—and lack thereof throughout Agne’s journey—feels like the one from a friend that you have known at one point in your life and drifted on separate ways.
Lucas Hedge and John Caroll Lynch are also amazing in their respective roles, the latter being more of a special appearance that will leave fans of the character actor satisfied to see him in such an integral role for both Agnes as a character and Victor as a filmmaker. Hedges, meanwhile, matched Victor’s vision for Gavin and complements Agnes’s awkwardness from the moment both started sharing the screen. Overall, they comprise a fantastic cast with memorable moments that should be celebrated.
Final Thoughts on Sorry, Baby
All the simplistic approach for Sorry, Baby would not work without the necessary elements that make this charming film one of my favorites of the year. The tone works incredibly well with its dry and witty humor mixed with an authentic quality behind the subject matter. Victor’s mission for this film is to show the audience a movie that rewards them when they pay close attention to the action on-screen, laying out different clues and information regarding Agnes as a person through subtle exposition across the runtime. Very few filmmakers have the knowledge to portray dread mixed with dark humor practically, and it’s in Victor’s confidence on their story that makes their directorial debut stand out.
Sorry, Baby might not have the impressive car chase of One Battle After Another or the dramatic cinematography from Sentimental Value. Still, this incredible piece of art roars just as loud as any other film released in the year. Eva Victor carries this film with such ease, having an incredible sense of confidence in their work. I have no doubt that this pristine production by A24 will be talked about for years, and I can’t wait to see what’s next from this promising voice in Hollywood.
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