‘Sorry, Baby’ Review: Eva Victor’s Feature Debut Is a Frank, Funny and Tender Spin on the Female ‘Traumedy’

by

If the name Eva Victor is unfamiliar to you, it may not be for long.

In a powerful, sometimes surprisingly bold cinematic debut, the movie “Sorry, Baby” showcases the talent of its writer, director, and lead actor as a versatile triple threat. This production carries a unique, well-defined tone that combines irony with sincerity in an intriguing manner. Although it shares some common elements with typical U.S. indie films (the Sundance vibe is unmistakable), the movie offers a refreshingly honest and personal take on the genre known as “traumedy.” It’s sharp, funny, and emotionally resonant.

With a blend of humor and charisma, Sorry, Baby subtly weaves a heavy tale of sexual assault, but at times, it seems too effortless; you may find yourself yearning for more grit or questioning certain overly sweet decisions or obvious references. However, despite its shortcomings in originality and subtlety, the film compensates with clever wit and a poignant depth that lingers long after.

(or)

Sorry, Baby uses humor and charm to tell a serious story of sexual assault, but it occasionally seems too casual; you might find yourself wanting more raw edges or regretting some overly cute choices. Yet, the film makes up for its lack of surprise or sophistication with quick-witted comedy and a profound emotional impact that lingers.

(or)

In a mix of humor and charm, Sorry, Baby presents a story of sexual assault in a subtle manner, but at times it appears too light; you may find yourself wishing for more grit or questioning certain overly sweet decisions or obvious references. However, despite its lack of originality or sophistication, the film compensates with clever humor and a profound emotional resonance that lingers.

The film boasts an exceptional lead in Victor. As Agnes, a literature graduate-turned-professor at a New England university located in the countryside, she exhibits both graceful reserve and playful mischief that hints at her sharp, unshared observations. From some perspectives, she appears strikingly beautiful yet awkward from others, her deadpan expressions interrupted by moments of raw vulnerability. Victor occasionally brings to mind well-known actresses – consider a blend of Greta Gerwig, Vicky Krieps, and Phoebe Waller-Bridge. However, she stands out as a unique, adaptable performer who is clever without being overly caustic, captivating audiences with her emotional depth as much as her quips and clever remarks.

Sorry, Baby is not a traditional, step-by-step healing narrative; instead, it’s presented in five non-chronological chapters, each representing a year. In the first chapter, Agnes’ university friend Lydie (played brilliantly by Naomi Ackie), visits her for a few days at their old house near campus. Although Lydie now lives in New York with her partner, the two women have remained close, and scenes of them together are filled with affectionate banter and a strong, enduring bond. The chemistry between Victor and Ackie is palpable and genuine, making their interactions feel effortlessly natural.

OR

The narrative in Sorry, Baby does not follow the usual path of healing stories; instead, it’s structured as five chapters that don’t strictly adhere to chronology, each representing a year. In the first chapter, Lydie (played by Naomi Ackie), Agnes’ college friend from grad school, spends a few days with her at their shared house near campus. Although Lydie now lives in New York with her partner, the two women have stayed close, and their interactions are filled with teasing camaraderie and a deep, lasting connection. The chemistry between Victor and Ackie is authentic, making their scenes together feel genuinely warm and inviting.

Initially, “Sorry, Baby” seems light-hearted, reminiscent of a modern, millennial comedy directed by Rohmer. However, subtle hints of darkness gradually emerge. At a gathering hosted by an old classmate (played brilliantly by Kelly McCormack, who exudes bitterness), the topic of Agnes’ previous thesis advisor, Professor Decker, causes her discomfort. Lydie’s swift change of conversation and a subsequent shot of her hand comfortingly squeezing Agnes’ leg under the table subtly reveals crucial information.

The following chapters move between past and present, delving into the events preceding our heroine’s encounter with Decker (superbly portrayed by Louis Cancelmi) and its subsequent impacts, both immediate and long-term. The casual interactions between Agnes and her older, attractive mentor are particularly disquieting due to their apparent normality – a pleasant academic discourse peppered with flirtatious undertones. Despite her admiration for Decker, Agnes is well aware of her personal space boundaries; she primarily seeks his approval of her intellectual abilities.

As a gamer, I didn’t witness the horrific event unfold, but instead, Victor strategically provides us with several extended shots of the house where the incident occurred, interspersed by cuts that signify the passage of night. From the sanctuary of my bathtub, Agnes vividly recounts the harrowing sequence of events to Lydie. This scene is masterfully written and performed, with Victor, her face captured in close-up, conveying soft chords of shock, dismay, and bewilderment.

Sorry, Baby depicts Agnes’ recovery as an unstructured and non-cathartic journey happening sporadically, haphazardly, and awkwardly amid the routine happenings of her daily life – events such as a job promotion, being summoned for jury duty, encounters with old adversaries, and casual intimacy with a fresh romantic interest.

Victor additionally criticizes the institutions and individuals who frequently let down rape victims, such as insensitive male physicians and female school officials who feign empathy while avoiding legal accountability. At times, his commentary can become predictable or comedic in nature, but Victor’s strong delivery as a performer adds an edge to it.

Similar to other modern comedians who specialize in humor as a means of evading and diverting difficult situations (like Greta Gerwig, Lena Dunham, Ilana Glazer, Jenny Slate), Victor presents a character who employs wit to sidestep and deflect – to steer clear of grappling with life’s more complex moments and harsh truths. Agnes, much like the characters portrayed by these actresses, possesses a certain audacity; her attempt to hide a cat in her coat under the indifferent scrutiny of a grocery cashier is an instance of perfect facepalm-worthy humor. However, unlike her predecessors, Victor leans more towards a subtle quietness and authenticity, creating space for a tender sincerity.

As a gamer, I can say that this technique really elevated my performances alongside Lucas Hedges as Gavin, Agnes’ lovestruck neighbor, from typical rom-com antics to something more authentic and unique. The build-up of our awkward courtship reached its climax in one of the movie’s standout moments – a bathroom chat filled with chuckle-worthy unease and heartfelt tentativeness.

Instead of rookie missteps, let’s say there were some questionable choices made. For instance, John Carroll Lynch as a gruff-but-kind sandwich shop owner with a thick Massachusetts accent was unnecessary, just like the episode that involved a battered mouse, which seemed both unfortunate and symbolically dubious. Additionally, Victor tends to err on the side of caution when it comes to visuals, often relying heavily on dialogue-focused shots that are broken down into schematic, shot-reverse-shot, two-shot sequences. However, despite these choices, Sarah and cinematographer Mia Cioffi Henry successfully create a lively atmosphere of wintry, picturesque campus stagnation and frame the actors with thoughtfulness and compassion.

Hey there! I’ve got to say, Ackie truly shines in “Sorry, Baby,” showing her most captivating performance since season 3 of Aziz Ansari’s “Master of None.” What makes this series intriguing is the exploration of the bond between Agnes and Lydie – a bond that remains strong even during periods apart. This friendship serves as a unique lens through which we witness Agnes’ strength and resilience. It’s a delight to watch!

In the movie, Lydie isn’t portrayed as a mere sidekick or a tool for Agnes to deal with her traumas. Instead, Victor gives Lydie her own identity, acknowledging her individual needs, aspirations, and personal endeavors. At certain moments, Lydie shows signs of frustration towards Agnes’ possessiveness or carelessness. Remarkably, the conflicts between them are hinted at rather than overtly shown; instead, the narrative emphasizes the shared concern and powerful camaraderie that unites these two women.

If “Sorry, Baby” demonstrates a keen understanding of how others support us during hardships, it also highlights the significant growth that occurs in their absence. A subsequent scene where Lydie revisits Agnes (accompanied by E.R. Fightmaster and their newborn) reveals Agnes returning the favor, subtly assisting Lydie. In a closing speech that initially seemed contrived but later proved poignant, we perceive that Agnes isn’t merely recovering; she’s empowered now, capable of uplifting others alongside her.

Read More

2025-01-28 06:55