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Sorry, Baby film review: It's about surviving trauma with humor and resilience
Updated On: 16 August, 2025 12:06 AM IST | Mumbai | Johnson Thomas
Sorry, Baby beautifully demonstrates that human connection is essential in the journey towards recovery. Eva Victor shines as the actor, director and writer in this one and is well supported by the rest of the cast
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Sorry, Baby review
Film: Sorry, Baby
Cast: Eva Victor, Naomi Ackie, Louis Cancelmi
Writer/Director: Eva Victor
Rating: 3.5/5
Runtime: 103 min
Writer-Director Eva Victor`s film is a tender, light-hearted look at life’s painful moments. It is basically about a young woman’s struggle with post-traumatic stress. Eva, who earlier gained audience attention with short comic videos, sets out to explore something more weighty and meaningful with her debut film. Funnily enough, you don’t learn the meaning of the title till the very end.
“Sorry, Baby” searches out humour in painful moments. Victor, who wrote and directed this feature debut, fashions this film as a black comedy-drama that makes light of heavy-duty emotional moments. Agnes, played by Eva herself, has to navigate through anxiety attacks to figure out a way to survive.
Agnes, a newly minted tenured professor at her old grad school, welcomes back an old friend, Lydie (Naomi Ackie). Their shared past has some haunting moments, but for now, their reunion is a joyous one filled with jokes and camaraderie. We then get the back story detailing Agnes’ days as a promising grad student whose brilliance is noticed by her cohort and her professor, Decker (Louis Cancelmi). He invites her to his home, and what happens there defines her harrowing experience thereafter. The first half of the film’s tagline is pretty appropriate - “Something bad happened to Agnes.”
Sorry, Baby is about the person who fell prey to a sexual assault. Victor deliberately keeps the viewer at a distance from the cruel atrocity so that Agnes is at the heart of the film. The severity of the assault is not downplayed. For Agnes, the trauma is a manageable one day and unbearable the next. Victor’s film allows the viewer to experience the pain from up close without objectifying the cause. Life can be disorienting after such a traumatic event, and “Sorry, Baby” implies that by telling Agnes’ story in non-chronological chapters. Agnes’s story is told in five chapters, beginning and ending with ‘The Year with the Baby,’ and Natasha’s (Kelly McCormack), jealous and spiteful digging is what triggers Agnes’ memory of her traumatic past.
Agnes confronts past traumas on her journey to recovery. Supporting characters like the therapist who counsels with the help of art therapy,a bartender who provides old age wisdom, and others, help enrich her and our experience. Honest and sometimes absurd confessions abound. A support group member obsesses over a pet goldfish while others use laughter to punctuate the silence of despair. Agnes’ evolving friendship with Maya, a charismatic and caring co-worker who, having faced her own trauma, helps to break down Agnes’ walls with sheer determination and infectious laughter. Their friendship is supportive, where they are able to share both comical anecdotes and raw vulnerabilities. Agnes` relationship with her estranged father is laced with tension, exposing the chasm caused by years of silence and misunderstanding. Agnes`s longing for acceptance is shadowed by a reluctance to bare her scars to the person she hoped would be her protector.
For Agnes, healing doesn’t have a set pattern, nor is it predictable. She is forced to embrace her own vulnerability. The camera captures her finding joy in mundane activities—a favourite meal, the warmth of sunlight. Victor masterfully keeps the audience on an emotional tightrope. Agnes’ story is a testament to resilience, illuminating a path forward with moments of connection, reminding us that we are not alone.
To showcase Agnes’ internal struggles, Victor weaves in surreal dream sequences - vivid imaginings in which she faces whimsical yet menacing versions of authority figures. The absurdity of these experiences allows the audience to laugh.
In a pivotal moment, we see Agnes sharing her story publicly, in front of a room filled with strangers. That is the moment when Agnes realises that healing is a shared endeavour. Victor closes the film with a poignant montage of half-smiles exchanged with strangers, bursts of laughter shared over coffee, and whispered secrets in the dark—demonstrating that human connection is essential in the journey towards recovery. Eva lives the role beautifully and is well supported by the rest of the cast. Sorry, Baby is not just a tale of survival, but a celebration of resilience. This film is basically a tribute to survival.
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