There is no easy road to healing.
Written, directed and starring Eva Victor, Sorry, Baby tells the story of Agnes (Victor), a student who seems to have the world at her feet. However, after something truly awful happens to her, Agnes’ world is upended in moments. Yet life seems to go on… for everyone but her, it seems. As her friends begin to build their future, Agnes remains stuck in the past until, finally, she’s willing to face her pain (and her fears) in an effort to move forward.
With Sorry, Baby, Victor offers a piece that simply feels personal in every possible way. This is not to suggest that this is her story. (Having never heard her speak on the film’s genesis, I would never make such a claim.) However, everything about this film simply seems authentic. From her stunning screenplay to a performance that feels entirely genuine, Sorry leans in to the harsh realities of recovery from an abusive situation.
As Agnes, Victor leans into this world with humility, courage and, at times, frailty. With an eye on realism, Victor allows Agnes to step into her feelings, no matter how raw they may be. In most moments, a simple glare from her communicates a myriad of emotion, ranging from devastating hurt to relentless anger. This sort of emotional balance can be difficult to portray onscreen, but Victor carries the film beautifully with furious grace. (Make no mistake. Victor could—and likely should—be recognized her work here come awards season.)
Visually, it’s worth noting that Victor offers a unique blend of muted hues. While the sun shines brightly throughout (much of) the film, Sorry never really feels fully lit. Instead, the film’s colourization seems almost toned down. (Although, admittedly, they do brighten as it progresses.) In doing so, Victor reminds the viewer that, despite life moving forward for others, Agnes’ world doesn’t have the levity of others.
Without giving spoilers, Victor highlights the very real struggles that can come with healing after trauma. While many try to offer their support, few seem to be able to understand what she’s going through, let alone know how to walk beside her. In some ways, Agnes feels as though she’s constantly catching her breath. In one moment, she can be laughing with her friends. In the next, she may be huddled in her car having a panic attack. Even learning to love again carries the fear of further abuse.
After all, sometimes, there’s justice for these moments. Other times, there isn’t.
But this is not meant to be entirely doom and gloom. In the midst of all of these challenges, it’s worth noting that Sorry is ultimately optimistic in its conversations about healing and moving forward. Throughout the film, we do see Agnes’ heart gradually begin to be restored in numerous ways. Even so, what makes Sorry, Babyso special is that it doesn’t wash over the difficulties in doing so. For Agnes, moving forward feels like learning to walk again. Every step towards hope feels as though she is gaining strength, but emotional triggers feel as though they take her two steps back. More often than not, it’s this uneven road to healing that makes the journey so arduous.
And it’s this level of honest that ensures that Sorry, Baby needs no apologies. In fact, it may be one of the year’s best films.
Sorry, Baby is available in theatres on Friday, July 4th, 2025.
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