Sorry, Baby Movie Review: A dark yet empathetic look at healing post trauma

Sorry, Baby Movie Review:

Actor-director Eva Victor brings a unique directorial touch to her performance in Sorry, Baby, a dark comedy about a woman who navigates the aftermath of a traumatic event. Victor plays Agnes, whose story the film tells with a non-linear narrative. The decision to split the film into multiple chapters, looking at the protagonist’s life at different stages, makes it an intriguing character study as it contextualises her troubling experience with those around her. At first, we do not quite know what haunts Agnes. Is it a relationship breakup or a divorce that she deals with? Or is it something else entirely? It becomes apparent early on that Agnes has more issues than the mere alienation stemming from the separation from her best friend, Lydie (Naomi Ackie). As Lydie breaks a major piece of news to Agnes, it makes her happy but in a slightly contained manner. It is almost like she holds most of the excitement within herself. Agnes feels this sense of containment no matter what surprise life throws at her, because she has not been able to overcome the past trauma even after three years.

Soon, we get to learn the reason for Agnes’ deep sense of discomfort. It is fascinating how Sorry, Baby takes us deep into the protagonist’s mind and makes us confront her ordeal with multiple point-of-view shots and perspective-centric storytelling. For example, when Agnes has sex with her neighbour and he asks her about how she feels about it, she provides a hesitant answer with half a smile and processes her inner turmoil even as he continues to cuddle into her. She is not over it and not ready for a relationship, even if it is one that does not require a commitment. Likewise, when Agnes receives a major employment upgrade, it brings her some sense of relief rather than sheer euphoria. The brilliance of the film lies in letting us know what the main character feels at different phases of her life without any dialogue for the most part. It does not show the event itself but rather lets it unfold through dialogues.

However, the film uses an intriguing mouse metaphor to offer a poignant reflection of Agnes’ internal struggles with power, responsibility, and vulnerability. When Agnes asks Lydie if bearing a baby feels like carrying a tiny mouse, she grapples with the idea of a life growing inside her. It reveals her anxieties about motherhood and the fickleness of life. Likewise, a pivotal decision Agnes makes about her past trauma reveals her misplaced empathy and desire to not disrupt another life, even at the cost of her own healing. A later moment with a mouse serves as a representation of Agnes embracing her agency and mirrors her experience.

Director: Eva Victor

Cast: Eva Victor, Naomi Ackie, Kelly Mccormack, Lucas Hedges

Sorry, Baby also has terrific performances across the board. As Lydie, Ackie's optimism and positivity bring a stark counterpoint to Agnes’ world-weariness. She has her friend’s back at the worst of times. Kelly McCormack shines as Agnes’ friend Natasha, who is seething with jealousy. Natasha feels that Agnes is lucky enough to get the same things that she wants easily. As the film tells the story from multiple perspectives, we realise how challenging Agnes’ situation is. Lucas Hedges is terrific as Agnes’ nervous neighbour Gavin, who has a hard time controlling his sexual urges. The film gets some of its humorous moments from the interactions between Agnes and Gavin. However, the film ultimately belongs to its director and lead actor Eva Victor, who delivers a stupendous performance in the central role. Whether Agnes is reeling from her trauma, quietly revolting against the injustice around her or revelling in her small achievements, you feel the same emotions as she does.

Ultimately, Sorry, Baby is an engaging and empathetic character study, offering a poignant exploration of the slow and messy road to healing. The film argues that the decision to take the legal course or not, always lies with the survivor and makes a compelling and unapologetic case for it.