Apologies, Baby - 2025 Sundance Film Festival Critique

      Sorry, Baby, 2025.

      Written and Directed by Eva Victor.

      Starring Eva Victor, Naomi Ackie, Lucas Hedges, John Carroll Lynch, Louis Cancelmi, Kelly McCormack, Liz Bishop, Chhoyang Cheshatsang, Marc Carver, Jordan Mendoza, Celeste Oliva, Jesse Gabbard, Anabel Graetz, Natalie Rotter-Laitman, Lucien Spelman, Priscilla Manning, and Conor Sweeney.

      SYNOPSIS:

      Something unfortunate has occurred to Agnes. However, life continues for everyone else around her.

      After a traumatic event, Eva Victor’s Agnes opens up to a doctor about her experience. Although the comedian’s writing and directorial debut, Sorry, Baby, tackles difficult themes that have been explored before, it occasionally does so with a sharp, dark humor that highlights the frustrating indifference some survivors face, rather than exploiting tragedy for cheap laughs. Given the multi-layered emotions Agnes grapples with following the incident, such a challenging portrayal can only be convincingly delivered by someone with Eva Victor’s talent in the lead role. In short, it marks a remarkably intricate debut in filmmaking and performance.

      Narrated in a non-linear style (though much of the story unfolds chronologically), Agnes is overjoyed to reunite with her best friend Lydie, portrayed with warmth and support by Naomi Ackie, embodying the ideal friend we should all aspire to be, particularly for those enduring what Agnes is going through. After finishing postgrad studies, Lydie moved away while Agnes remained behind—a surprising choice given a troubling memory. It’s revealed that Agnes has taken a teaching position at the same university, which is also tied to her trauma. Agnes has not fully come to terms with her past, worsened by some former classmates who harbor jealousy and resentment towards her academic success and beauty, as well as Professor Decker’s (Louis Cancelmi) favoritism towards her.

      Three years prior, Professor Decker, divorced and unable to see his young son, invited Agnes to his home to discuss her thesis, a project he appreciates as much as she admires one of his books, a naturalistic work that often occupies her thoughts. The film chooses to keep the focus on the house from across the street rather than following Agnes inside, capturing the transition from day to night in a poignant manner. This restrained approach leaves viewers with unsettling implications without revealing the full extent of the incident. We are made aware of what transpired before a stranger on the street points out to Agnes that she is wandering with untied shoes, lost in shock as she moves toward her car.

      At home, still reeling from the experience, Agnes recounts the events to Lydie, struggling to fully grasp what has happened. Importantly, Lydie remains calm, listening attentively, and gently confirming that yes, the “bad thing” occurred. This film does not wallow in despair, however. Eva Victor skillfully highlights the uncomfortable, awkward humor in the indignities survivors face when discussing their abuse with doctors who treat it as a routine matter. There are also explorations of identity and how living with this trauma impacts Agnes’ romantic life as she slowly grows closer to her kind neighbor, Gavin (Lucas Hedges).

      These supporting characters, from Lydie to Gavin and others, are not just there to elevate Agnes’ storyline; they lead their own lives, with Lydie experiencing love and preparing for motherhood. There are insights into other students’ bitterness towards Agnes’ success, prompting richer discussions on the themes. Some elements feel clichéd, like Agnes adopting a stray kitten that symbolizes her journey to healing, yet Eva Victor transcends these tropes with darker humor. The film also contains seemingly minor, yet significant, observations from Agnes about her abuser.

      Sorry, Baby does not conclude with humor but rather reveals harrowing truths about life and our responses when others suffer. Eva Victor takes a somewhat familiar narrative and infuses it with depth and a remarkable blend of tones and themes that shouldn’t coexist, reminding us that true comedic talent can unearth humor from even the most challenging situations while addressing vital social issues.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder is part of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd.