A One Mann’s Movies review of “Sorry, Baby” (2025, 3.5*, 15).
At one point in this, college professor Agnes (Eva Victor) is class-appraising Nabokov’s novel “Lolita”. A male student pipes up that he finds the subject matter distasteful and disturbing and Agnes replies that she understands that “…but what did you think about the writing?”. She continues that he was “caught between the form and the presentation”. In many ways, I felt the same way about this film. The powerful material, based, sadly, on the real-life experiences of writer/director/star Eva Victor herself, is tastefully presented but hard work as a viewer, particularly a male viewer. But the film itself is polished and impressive, given that this is Victor’s directorial debut.
Pretty much like my review of “The Long Walk“, I find my rating is caught between the two conflicting pillars of “is it well made” and “did I like it”.
One Mann’s Movies Rating:
Plot:
During her time as a grade-A student at ‘Fairport University’, something bad happens to Agnes. We explore the impact of the traumatic event on her over the next few years.
Certification:
UK: 15; US: R. (From the BBFC web site: “Strong language, sexual violence references, sex”.)
Talent:
Starring: Eva Victor, Naomi Ackie, Louis Cancelmi, Kelly McCormack, Lucas Hedges, John Carroll Lynch.
Directed by: Eva Victor.
Written by: Eva Victor.
Running Time: 1h 43m.
Summary:
Positives:
- A story of sexual trauma that explores the long term impact on victims.
- Even in the darkest moments there is comedy to be mined.
- Some well-written scenes that feel like they were based on reality.
Negatives:
- Tonally, the film swerves all across the road… but maybe that just reflects real life.
Full Review of “Sorry, Baby”:
Rape but not glorified rape.
All rape is atrocious. But there are some depictions of rape on film that are truly horrendous. Perhaps the one that sits in the memory more than any other is the appalling subway scene between husband and wife Monica Bellucci and Vincent Cassel in “Irreversible”… a scene that sits firmly in the category of “can’t unsee it”.
In this film, the “bad thing” is never shown at all, but is almost equally as powerful. We see a long-shot of Agnes (Eva Victor) take her thesis into the home of her professor Preston Decker (Louis Cancelmi) and the camera just stays on the house as much time passes. We as the viewer have to fill in the scenes with our imagination. Then Agnes comes out of the house again, puts her boots on and drives home in a daze. This driving scene reminded me of the final scene of “God’s Creatures“, where the camera is focused on the driver – in that case Sarah (Aisling Franciosi) – for an uncomfortably long period of time. In Sarah’s case, it was a look of escape; In contrast, the expression of Agnes is one of glazed shock and you wait for the moment when she arrives back at her dorm to tell her best friend Lydie (Naomi Ackie). It’s a scene that takes directorial nerve to pull off.
The problem for juries.
Although you never see the assault, you hear Agnes describe it to Lydie. And it typifies the issue for the jury system in this sort of “he did”/”she said” sort of case where no physical evidence is available. (I was yelling at her, “don’t take a bath”!) Through her verbal description, Agnes stresses how she was physically objecting to the sexual advances, by pushing his hands away. But at no time did she ever say that she yelled “No!” at him. Although this never becomes a legal case in the film, you can easily see how an aggressive defence lawyer could put both Agnes and Lydie on the stand and tear their testimony to shreds. You get the sense that Agnes herself feels (wrongly) in some way semi-responsible for the event.
A clever non-linear piece of storytelling.
In a similar manner to the recent “Life of Chuck“, we start at the end (but not the literal end, as in “Chuck”!). The chapters are structured in ‘Years’, with the first – “The Year of the Baby” – seeing Lydie, now successful with her career in New York – visiting the semi-becalmed Agnes back in Fairport to announce her pregnancy.
We then proceed to the “Year of the Bad Thing” where we return to the start and then work forwards from there (until we end up back – a little bit later – in the “Year of the Baby”). It’s a neat narrative trick in that we get to see her college friends in the present day (including the equally becalmed but horrifically self-centred Natasha (Kelly McCormack)) and also in their college years. (Well, Agnes, Lydie and Natasha in particular).
All of the script is peppered with some choice comedy moments that come across as often very dry and often very dark. It’s a genuinely clever script.
A journey of healing.
Although highlighting the lifelong damage of sexual violence (a rape is for life… not just for one semester) it does illustrate that Agnes is struggling to find a path forwards. Although forever suspicious of strange creaks and groans in her house, she ultimately recognises that she is standing still while everyone else moves forwards with their lives.
Typifying this physically, her sex with the useless neighbour Gavin (Lucas Hedges) is totally unsatisfying for her (one of the most cringey sex scenes in recent movie history!). That’s before she makes a mental breakthrough and takes control of her own orgasm (leading to one of the best sex scenes!), with Gavin straddled, Agnes’s hand very much in charge and a bemused Gavin realising “Oh, this is what it should be like for her”!
A particularly touching scene has her suffering a panic attack while driving after hearing some distressing news from Natasha. She is ‘rescued’ by a kindly sandwich-store owner, Pete (John Carroll Lynch), and their moving conversation restores your faith in good, kind men out there. Agnes admits that the ‘bad thing’ happened over three years ago. “Well, that’s not that much time” Pete replies; the perfect way to say “time is a healer” without sounding trite and insincere.
Fine acting from the ensemble.
As Eva Victor is effectively playing a loose version of herself, this must have been great therapy to be able to externalise all of this into her script. But she is also a fine actress and all of her scenes felt just so natural and real.
The supporting cast is also great with the ever-reliable Naomi Ackie again shining in the supporting role of Lydie.
Triggers.
I don’t need to tell you this, but this film will be obviously triggering to any women (or indeed men – it’s not all one way) who have been the victims of sexual violence.
Summary Thoughts:
After a few duds, “Sorry Baby” is another more interesting A24 offering. A well-crafted film that tackles a tricky and dark subject. As such, it’s one where the film-making impressed me, but it wasn’t a particularly easy or enjoyable watch.
The title, by the way, only really makes sense through the very final scene of the film.
Where to watch?
Trailer:
The trailer is here: https://www.youtube.com/watch?v=Rc0jgWoZo9w.
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