Sorry Baby Movie Review: This film balances sadness and wit with a light touch

There’s a quiet charm to ‘Sorry, Baby’ that sneaks up on you. It doesn’t feel like a big film—and it’s not trying to be.

'Sorry, Baby,’ directed by Eva Victor, was released in theatres on 8th August and features Eva Victor, Naomi Ackie, Louis Cancelmi, and Lucas Hedges.

There’s a quiet charm to ‘Sorry, Baby’ that sneaks up on you. It doesn’t feel like a big film—and it’s not trying to be. Instead, it settles into something smaller, more lived-in. Written, directed, and headlined by Eva Victor, the film feels personal right away—like someone quietly sharing a story they’re still trying to understand.

A quiet film that doesn’t try too hard

Yet, as the several chapters of the film unfold, it moves with unexpected confidence. It’s a film that doesn’t push for big emotions but finds them anyway—in awkward silences, in bad jokes, and in small acts of kindness between strangers. There’s humour here, but it comes from discomfort. There’s pain, but it isn’t made dramatic. Victor has made something really delicate, and that’s what makes it land.

A story about moving through the mess

The plot centers on Agnes (Victor), an ad hoc college professor trying to navigate life after a sexual assault. The film doesn’t dwell on the event itself—it focuses on what happens after, when everything feels the same but nothing is. Agnes keeps up appearances: she teaches, responds to emails, and fakes small talk at faculty events. But internally, she’s adrift.

The only person who truly sees through her is Lydie (Naomi Ackie), her best friend from grad school, who now has a baby and a life that feels impossibly far away from Agnes’s current state. Their friendship—warm, complicated, a little codependent—becomes the film’s emotional core. Lydie doesn’t always say the right thing, but she shows up, and that counts for something. Their scenes together feel raw and real, often veering from biting humour to heartbreaking silence in seconds.
No fuss—just feeling

There’s a softness to the way this film is made. The pacing is gentle, the long static shots, and the jokes are dry but never cynical. It doesn’t rush toward plot points. It just allows the characters to exist. That may sound slow, and at times it is—but never boring. Victor’s writing is honest in a way that feels rare.

She allows Agnes to be awkward and passive and unsure without apologizing for it. Some of the most affecting scenes are the quietest—Agnes sitting in silence as a doctor offers hollow comfort, or Pete joining her during a moment of panic without asking questions. Her exit from Decker’s house carries more emotional weight than any argument or confession. You can feel the filmmaker's care in every frame, even when nothing much is happening. It’s also a surprisingly funny film. Even in the sadness, there's room for weird little moments that feel oddly comforting.

Understated performances that feel lived in

Victor is also wonderful in the lead role. She plays Agnes with a kind of stillness that’s hard to fake. She doesn’t go big, doesn’t cry on cue, and doesn’t try to explain every feeling. You just watch her try to hold it together, and it’s incredibly moving. Naomie Ackie as Lydie brings a completely different energy—calmer, warmer, more open—and the contrast works beautifully.

Their chemistry is unusual and a little offbeat, but that’s what makes it feel real. Everyone feels natural, like people you might know. There’s a lived-in quality to the performances that makes even the smallest conversations feel meaningful. The film doesn’t tell us who these people are—it just lets them be.

A film that comforts without offering answers

‘Sorry, Baby’ doesn’t reinvent the wheel, and it doesn’t need to. It’s a small story told with care, humour, and heart. What stands out most is how Victor resists turning pain into a lesson. This isn’t a film that tries to explain trauma or wrap it up with a bow. It just shows you what it’s like to live with it. And in doing so, it becomes unexpectedly comforting. Not because it offers answers, but because it reminds you that you're not the only one who feels lost sometimes.

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That might sound simple—but it’s exactly what makes the film so quietly powerful. Sometimes the most meaningful films are the ones that don’t reach for too much. They just sit with you, like a friend who doesn’t need to say anything. ‘Sorry, Baby’ does that.Rating: 3.5/5