Avaliações de usuários

Sorry, Baby is one of the most nuanced, simple yet complex telling of the effects and aftermath of a traumatic event in the life of a bright, energetic and youthful woman. Beautifully written, directed and brought to screen with a very balanced, sensitive and realistic performance by debutant Eva Victor. The movie is truly deserving of its premiere and writing award at Sundance and being the closing movie of the director's fortnight at Cannes.

Eva Victor tells her story in a non chronological manner by moving forward and backward in time through five specific chapters representing five very different years of her life. This non linear approach highlights her emotional journey and augments the story telling significantly. The story is simple and the pace of the movie is slow but it is this slow pace and focus on the lead characters subdued emotions when alone mixed with phases of elation when in the company of her best friend that makes the movie so effective.

Eva does a brilliant job channeling the emotions of disappointment, disillusionment, isolation, grief, anxiety and anger mixed with those of hope, resilience and healing. At no point it appears that she is acting and that is what makes her performance and the movie special. Don't expect any cinematic fireworks as Eva makes the audience truly experience the lead character's emotional journey through trauma. Delicate, authentic and realistic. 8/10.

I really wanted to like this movie. However it felt like a movie that existed only because of the harshness of the subject matter, that of which is not explored very much in the film. There is not really any tension in the film, nor any real sense of storyline. It is basically just a slice of life tale but actually several slices that aren't that intertwined, and most of the plot points felt completely unimportant. You could edit this film down to 30 minutes or less, and it would probably be a lot better. I also felt like the movie could've leaned into Eva's quirkiness more, there were a few funny moments but not nearly enough. Some decent cinematography though and Naomi Ackie is always great. (6.2/10)

There is something especially individual about the lead characterisation here, and even though Eve Victor delivers strongly, I just didn't really engage with it. We conclude fairly swiftly that her "Agnes" has suffered some trauma in her life and that now, in her late twenties, she has taken up a professorial job in a small rural community where she seems content to live en seul. Except, that is, until her friend "Lydia" (Naomie Ackie) comes to visit. She and her new girlfriend are expecting a baby and though joyous of the news, it seems to awaken in "Agnes" an appreciation of a hitherto subdued sense of loneliness. During this visit, and thereafter, the plot dances between timelines as we learn more about both women, particularly "Agnes" and along the way are put through quite an emotional wringer. There is a degree of humour here, but it's not the giggle sort - more along the observational, story of life, line that is often quite relatable but frequently swamped in a surfeit of dialogue. It also strays into the melodramatic one too often, too - not least as it descends a little into a well of self-pity that isn't really supported by any depth of likeable characterisation. Ultimately, I think that was probably my issue with "Agnes" here. I just couldn't really empathise with her, despite the heinous nature of the incident, and though entirely justifiable, I found her just a little too self-centred. Sorry, baby, but I just felt fairly underwhelmed and uncomfortably disconnected all the way through.

I've seen this twice now (Sundance and LA premier), and what struck me on the second viewing is how cozy this movie is, despite the circumstances of the plot.

At my second screening, Eva Victor did a Q&A and emphasized how important it was for her to make sure the audience felt safe and she parsed through this story, and to avoid any depictions of violence onscreen.

This translated pretty clearly, as the warmth and love from friends, strangers, and new love interests help guide Agnes through the pain, guilt, regret, and distrust.

Also, awesome depiction of the Cat Distribution system. 10/10 cat.

Agnes (Eva Victor) is a student who experiences something bad with her professor Preston Decker (Louis Cancelmi). As she tries to heal from this she experiences many different types of relationships over the years from close ones with her friend from college Lydie (Naomi Ackie), to the saviour complex between her and a mouse that her cat Olga (Noochie the cat) brought in years later.

I won't be so arrogant as to say I understood the nuances of the film, although I recognise that Eva Victor who also wrote and directed the film, was saying something about the relationships we have with people and how the communication between us can be very different and layered. Who you are with one person is not who you are with another. There is a fluid dynamic of personality in and between relationships. I suspect that's why nabokov's book Lolita was discussed in the film: there were very different dynamics and power levels in the relationships within the story of Lolita.

It's not a film where you come out of the cinema and say "wow that was fantastic." It's more of a film you come out of the cinema and you remember lines from the film, and scenes form it for weeks, as you piece everything together and apply it to your own life. Who are you and who are the people in your life?

Victor's presence on screen is amazing and her acting skills sublime; I've never seen her before but I will certainly look at some of her other work. Her direction was amazing and not a single moment of the film was wasted. Some of the shots and scenes were pure art.

Suffice to say I loved this film and everything about it, I gave it a solid 8.

This is another film where I have a ton to say, but don't want my original thoughts getting lost in a giant pile of word vomit while I try and put the thoughts to the page.

Very clearly: I am not a woman, and have not gone through the specific type of trauma that takes place in this film. That said, I am a human being and have experienced a multitude of what many would consider to be out of the norm excessive traumas in my life, from an ex partner committing suicide to losing a brother to an accidental fentanyl overdose.

Trauma is something I believe until recently in this country, was an issue that was somewhat a shoved aside, something that wasn't talked about, something that in my parents day (I'm 43), would even be something to be embarrassed about. I'm sure all our Gen X parents were told to 'Man up' at some point in their lives.

Having gone through these very personal traumatic situations in my life has had a tremendous effect on who I am as a person, and how I deal with the outside world, and how I am able to control my own inner thoughts and emotions.

This is an incredible directorial debut from Eva Victor, who like many other found during 2020 while we were all stuck at our homes, and who in a very dark sarcastic way was able to breath some life and laughter into our minds during that psychotic year (also the year my brother passed).

With this film Eva paints around an act of force so intense and so heavy, without ever actually naming the act, but what she brilliantly shows you as a viewer is what becomes of someone who has experienced trauma throughout the following years, whether it be through moments of pure fear, moments of unwilling panic, moments of using laughter to continue to grieve, and moments of pure unadulterated pain.

I've been through these moments in my life, and I am thankful this film exists, as if you have not experienced heavy trauma in your life, this helps paint the portrait of what it's like for those of us who have.

I love the control of tone throughout and how it remains somber while allowing moments of breaths of fresh air through sarcastic comedy to allow your brain to take a breather.

The film executes a non-linear path that bookends itself with a monologue that I will definitely be reading over again and going back to in moments of solitude where I need to remember that even though trauma exists in my life, there are ways to pass through to get to the light at the end of the tunnel.

I'm looking forward to more from Eva Victor. Fantastic, touching work here.

I have never walked out of a film before, but I almost did. I'm glad I did not as the film won me over. At first, the absurdly goofy and one dimensional characters and dialog was a turn off. I certainly don't know anyone above the age of ten that acts/talks that way. And the costume "designer" should either never work again, or get an Oscar for the impossibly tasteless and frumpy outfits the lead and a few other actors wore.

But as it settled in, the quiet tone and the lead's obviously neurodivergent behavior made more sense. And the subsequent scenes with her next door neighbor "boyfriend", the sandwich shop owner and the baby at the end of the film were sweet. Ultimately, I got a viewpoint that made me think about it later, and that is what makes art worthwhile.

Sorry, Baby is a slow burn-it takes its time to build tension, and for a while, you're not quite sure where it's going or what it's about. But that's what makes it work. The early pacing is essential; it lets you settle into the characters and truly get to know them before the tension creeps in and the stakes start to rise.

The acting is incredible-subtle, restrained, and deeply natural. It's a masterclass in quiet, grounded performance. There's a scene where the lead delivers a monologue in the tub, and it doesn't feel like she's reciting lines. We're with her in that memory. We're seeing what she saw. I got the sense that some of the film may have been improvised, but if so, it only added to the realism. The whole film has a lived-in, organic quality.

That said, a few of the smaller supporting roles toward the end didn't quite land for me and briefly took me out of the experience. And I'm still unsure what Agnes wanted-what her internal drive was. There's such beautiful artistic depth here, but I couldn't fully grasp what was pushing her forward. Then again, maybe that's the point, as hinted in the final monologue.

There's also powerful symbolism throughout. One moment that stood out was her driving, the headlights trailing behind her like a new memory that will chase her forever. Another was the way the passage of time was expressed through visual shifts, especially at the professor's home. These moments are executed with both restraint and emotional weight.

The film resists cliché. One of its most striking choices is its sense of timelessness. You can't quite place what year it's set in-there are no cell phones, the clothing is neutral, and her thesis is typed on paper rather than submitted digitally. If I had to guess, I'd say 1998. I caught a glimpse of an older New York license plate that reinforced that impression.

Ultimately, Sorry, Baby delivers a quiet but profound message about humanity: we have to be prepared to live in an imperfect world. We will get hurt-that's just part of it-but we have to find a way to keep going.

Sorry, Baby was a movie I hadn't heard about or read any reviews. So, I went in not knowing what to expect.

Agnes (Eva Victor) is a full professor (!) in her 20's (!!!) at some unidentified small college that seems to be in northern Massachusetts by the seashore. Agnes is kind of quirky, a little off at times and obviously a loner. Her one good friend, Lydie (Naomi Ackie), has left the house they shared - platonically - and moved on to a career and a relationship in NYC. Lydie then comes for a visit and they are both very chill and at ease with one another in a nice way. Lydie then reveals that she is pregnant. The movie then bounces back to when they and some friends were working on their dissertations three or so years a ago, then to the more immediate term of the past year or so and then jumps ahead to the not too distant future when Lydie has had her child.

All through the focus is on Agnes and a trauma she experienced (no spoiler) and how she is coping and how mostly Lydie helped her. The mood bounces from stress, to being poignant and the to being funny - but none of it laugh out loud funny. It's a quirky portrait of single childless cat lady (yes, there is a cat featured pretty significantly) without really embracing that concept for self-deprecation or for self-affirmation. The movie meanders, which is nice for a change, yet doesn't really make any kind of impact one way or another. Sorry, Baby is just there.

Sorry, Baby won't be everyone's cup of tea - and I would recommend waiting for it to come out on streaming.

Watched at the 2025 Sundance Film Festival.

Gosh, where can I begin? This movie is both hilarious and heartbreaking as it perfectly portrays of both the drama and comedic moments of life despite the harrowing situation that has been encountered. Eva Victor, who directed and acted, crafts an incredible drama that becomes a good character study of finding ways to move on with great dialogue, character dynamics, performances, and direction on the tone and atmosphere throughout.

Presented with good realistic camerawork, structure, and editing, the movie handles it serious themes solely and perfectly. Including great characters, atmospheres and cunning dialogue that are presented throughout the story that achieves the realism and nature approaches or life. There are some dialogue moments that are still burned into my memory which shows how good the dialogue is. Each conversation, choices and structure is held perfectly from Victor with each pacing moment feeling balanced, tone being focused and a good sense of humane style of life. No moment there was something that felt out of place, cheesy or unrealistic.

Eva Victor might be a new voice in cinema pretty soon and I do hope Victor is able to get the chance to shine soon.

The story had a lot of potential, but it's wasted by this generation, members of which are a lot like this cast: wholly devoid of personality. If you can get past the lack of affect of these self-absorbed characters, maybe this movie is for you.

Agnes gets more annoying as the film plods on. The hospital scene is so weird; who would behave like that (Agnes and especially the other character behave abominably toward the physician)? Agnes is insufferable in the court scene; she makes it awkward and all about her, when she could have simply asked to speak privately with the judge or attorney. Agnes's friends, especially in the dinner party scene, are so boring and, again, self-absorbed.

The only reason I don't turn this off is because it was my husband's idea to watch it. I haven't loathed a movie this much in a long time.

Eva Victor's story highlights Agnes's journey post a traumatic experience as life moves on. Agnes tries to move on but the trauma doesn't let her while she really is unable to take legal course of action. The story focuses on her emotional journey as she acknowledges the bad thing that happened to her and tries hard to live with it. The world is such, thet bad things just happen and it is never easy being a woman in the said world.

This is the kind of film that rendered me speechless. It started off casually with an overdose of the F words which helped showcase Agnes's bond with Lydie. But the 5 minute scene of her confiding to Lydie over what really happened, made me sit up. What followed next was simply terrific piece of writing and execution. Eva brought Agnes's character alive and her way of dealing with what happened was simply holding a mirror to us, the viewers. This is not the film about Agnes fighting for justice but a film about her fight to survive, move on and worse, accept the bad thing. The way she pushes herself to learn to live with it, was indeed a tough watch.

What makes the screenplay terrific is how Eva Victor tries to insert humor into the narrative. I felt sad with Agnes while having a chuckle now and then despite the grim moments. She really struggles to get on with her life and hyperventilates, which is a normal thing that one expects from her. Then the narrative shifts to showcasing that the bad thing just happens and Agnes has to live with it, leaving us the audience to accept the very thing as normal. It's infuriating to feel the helplessness of the character but also hold onto the hope of her pulling through. The rest of us are like Pete, while the countless Agnes' are made to move on with their lives and apologizing for the world we have created.

When we experience a traumatic tragedy, we often can't fathom how we're going to respond to it. Some reactions may follow expected patterns. But others may come across as wholly unpredictable, in large part because we don't quite know what to make of them ourselves. That can become considerably more complicated when we don't even know how to speak about them, to find the words to sufficiently express our feelings. And, when you combine all of these elements, you have the basis for the quandary faced by unnerved protagonist Agnes Ward (actor-writer-director Eva Victor in her debut feature). The film, told in a series of time-shuffled chapters over the course of several years, follows the troubling experience of a graduate student/professor (Victor) enrolled in the English lit program at a small liberal arts college in rural New England, along with her patchwork attempts at reconciling her feelings about it. In the course of sorting out her emotions, her plans for dealing with her circumstances and the potential fallout involved, and the impact of the event on her life and prevailing outlook, she examines her options and feelings from a variety of angles. And, in the course of doing so, she engages in a series of introspective but often-vague conversations with her best friend (Naomi Ackie), her kindly but somewhat bumbling neighbor (Lucas Hedges), an embittered rival from the university (Kelly McCormack) and a Samaritan sandwich shop owner (John Carroll Lynch) who helps her overcome a serious panic attack while driving, among others. These dialogues often mix a curious combination of poignant observations, dark humor and blunt revelations. But therein lies the picture's fatal flaw - this odd concoction of story elements doesn't mesh well, leaving viewers wondering where the narrative is ultimately headed (the overriding uncertainty of the lead's reaction to her circumstances notwithstanding). It's as if this offering is constantly reaching for a profound insight that it's fundamentally unable to adequately express, an experience that becomes ever more exasperating as the picture unfolds. That's unfortunate given the subject matter involved here, but the goal is never sufficiently attained, presenting the audience with an array of random situations and a collection of unrelated characters that seem to provide the basis of something meaningful that never emerges. To its credit, there are some truly engaging moments (though not enough of them), backed by fine performances and some gorgeous cinematography. But those qualities aren't nearly enough to save this lost and meandering exercise that seems innately incapable of answering its own questions, making for what essentially amounts to an ambitious but innately unsatisfying watch.

Kudos to Eva Victor for not only writing and directing, but also delivering one of the most powerful performances I've seen in a long time. I can't recall another film that tackles such a heavy subject matter while also weaving in laugh-out-loud moments, balancing the two so seamlessly. The sincerity of the chemistry between the two female leads is striking - it feels lived-in, unforced, and deeply authentic.

This movie is a testament to the fact that indie films can surpass big-budget mainstream movies through storytelling, genuine performances, and emotional weight. I was not expecting to discover such a rare gem.

It's good... but not mine. Cinematic, serious issues handled right, never too dramatic or too flat. On paper it works. But watching it? Boring. And those characters - I couldn't feel sympathy for a single one, which means I never connected to the story emotionally (only rationally). Credit where it's due, but I didn't enjoy it.

I am not a great fan of plot spilling in reviews, so I will try to approach this film round and round. It has so much more; other than the plot itself and one of this movie's main occurrences revolves around the fact that there is a word and a situation that no one wants to describe or call by name.

First of all, I have just adored the fact that this movie is playing with his timeline. I've like it since I first encountered it at Tarantino's "Pulp Fiction" and from that day, I have a soft spot for those kind of movies, that makes us assemble the plot and it's details, according to stages from different times.

Second - this movie has some fine small scenes and conversations that doesn't feel related to the plot, but together those situations, scenes and sequences make this movie to be what it is. Small encounters and conversations that makes this movie to be so unique - sad, funny and dramatic - exactly like its main character.

It is directed and scripted by the main character and actress (Eva Victor), that I've personally never heard or watched in other movies. The other actors and actresses, that hovers above and aside are so good and contributes to shape and mold her character's...character and nature.

The puzzle that the viewer needs to assemble is composed out of several chapters, that have hinted headlines. The directing and screenwriting of several situations is just brilliant. Leaves you wonder about a situation that you can guess what it is according to details that were put on the sides of the way to the scene.

And like in each one of "Harry Potter" books and films - there is one word in this movie that is not allowed to tell or say. It can be vaguely described or hinted, but if someone will spill it out, it will make the main character confront with her emotions and feelings.

Thus, and after all being said, we understand that our protagonist should find other ways to deal with what she's been through. Sometimes it is through laughter or sarcasm and sometimes...through speaking with characters that cannot judge or understand.

Anyway...this movie has a lot of charm in it. Great acting skills and surprisingly also great writing and directing skills by a young, promising young woman, which demonstrates control over each and every one of the described skills. It deserves 7.5 stars, from my side.

Went in fully blind, and did not expect how good this movie was. Went from laughing to somber and back to laughing. One of the most realistic depictions of SA, showing the long lasting impact without going cartoonishly over the top. I would highly recommend give this film a chance, as it is one of my favorite low budget films of all time..

I didn't know anything about the movie when I went to see it. What was I going to see? Well, a quirky and nice little movie. I liked it and liked the main character Agnes. A journey with different twists like a book with chapters. I'm glad I saw the movie. So it was worth seeing this movie. So see it.

It's difficult to watch a film when the lead character (played by the director who is also the writer) is annoying. Without much empathy for her the film is a tedious & trying slog.

So, Eva Victor's character, Agnes, is writing her thesis, she's supposed to be a top-notch student of literature. The problem is she speaks and behaves much like a awkward 17 year old, who never finishes her sentences and then goes off on a tangent. Does she have a screw loose? Or is this just the way, in the mind of the director, alternative bohemian sorts carry on?

She speaks to stray kittens and new-born babies. It's cringing. Final straw, she squashes a dying mouse with a book and then hurtles off scantily dressed and pleads with her neighbour to jump into bed with her.

If this is what US Indy cinema has to offer then no.

It's a comedy-drama about survival set in modern times in a small New England university town. Agnes (Eva Victor) is a young literature professor at the university where she did her Ph. D. work three years earlier. She's welcoming her best friend and former roommate, Lydie (Naomi Ackie), for a visit. During the visit, they also meet with fellow Ph. D. classmates, Natasha (Kelly McCormack), Logan (Jordan Mendoza), and Devin (Cody Reiss).

In a flashback, we learn Agnes experienced a traumatizing encounter with her Ph. D. supervisor, Preston Decker (Louis Cancelmi), and now is serving as his replacement. His former office is now her office. The flashbacks move forward to the present, showing how Agnes has dealt with the trauma. We also meet Agnes's neighbor, Gavin (Lucas Hedges), and the owner of a sandwich shop (John Carroll Lynch), who is helpful at a difficult time.

The drama in "Sorry, Baby" is better than the comedy. Some of the comedy works, but other pieces make Agnes seem less self-reflective than in the more dramatic parts. There are also a few plot points that don't seem credible, i.e., Preston Decker's instantaneous resignation and the university's hapless response. There's a lot to like, and Eva Victor and Naomi Ackie do very well in their lead roles. The film's academic ambiance is also successful.