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“Sorry, Baby,” a comedy/drama that sold to A24 for $8 million at Sundance 2025, was highly anticipated, especially because of Lucas Hedges’ (Oscar-nominated for “Manchester by the Sea“) casting as Gavin. Written, directed, and starring Eva Victor as Agnes, the film, unfortunately, squanders its potential.
Wasted Potential
Eva Victor’s script severely underutilizes Lucas Hedges. For much of the film, his presence is minimal. His most prominent scene is a bathtub encounter where his lines include, “I’m embarrassed and I was hiding my dick.” He almost disappears entirely after his initial introduction, making his return uncertain. Having met Hedges previously, I was disappointed by his peripheral role. Victor’s response to his awkward nudity is equally cringe-worthy: “It’s okay. I was covering my breasts. Oh, wait. Can I look at it? I have never seen one that soft. They’re better like this.” This dialogue is unlikely to earn Hedges an Oscar nomination.
Strange Baby Talk
A scene featuring Victor with a baby is also bizarre. Her monologue to the infant, about the bad things in the world and her inability to stop them, feels unnatural and forced. While it might have worked as dark comedy (like “Nightbitch“), it comes across as unrealistic and contrived. This dialogue, too, is unlikely to win awards.
Subtitles and Murky Trauma
The film’s use of subtitles, like “The Year with the Bad Thing,” feels unnecessary and often unrelated to the onscreen action. Agnes’ delayed PTSD reaction to a sexual encounter with a married professor seems overblown and unclear. The encounter itself is vaguely depicted. We don’t see what happened. Did Agnes feel raped? Was she naive to visit his house while his family was away? Did he force himself on her? Could she have been more assertive? The film leaves these questions unanswered.
Agnes’ reactions are delayed, occurring after the event. While we sympathize with her, the lack of clarity surrounding the encounter is problematic. Her professor’s abrupt resignation seems convenient. Agnes’ pursuit of the issue at the college is met with the news that he has already left town. This entire episode feels murky and unresolved.
This ambiguity mirrors real-world challenges in cases of alleged sexual misconduct. The “Me Too” movement and shifting societal views add further complexity. The film raises these issues but doesn’t offer clear answers.
Agnes’ emotional breakdown while driving feels disproportionate to what is shown onscreen. It leads to a character turn from John Carroll Lynch as Pete, but the scene itself feels unearned. The film lacks the clarity of “Promising Young Woman,” where the protagonist’s trauma is explicitly depicted. While Agnes’ distress is understandable, the timing and intensity of her reaction feel off.
Glimmers of Potential
A courtroom scene offers moments of genuine humor and realism. These scenes are what the film needed more of. There are some good lines, like, “I did not think I would end up looking like a yam with a mouth on it.” It’s positive to see more female directors and writers emerging. Mia Cioffi Henry’s cinematography and Lia Quyang Rusli’s music are commendable.
Critical Acclaim vs. My Perspective
“Sorry, Baby” has received significant praise, even winning the Waldo Salt Screenwriting Award. This suggests my perspective is at odds with the majority. Perhaps the film’s positive reception is due to the overall somber tone of other Sundance offerings. “Sorry, Baby” might have stood out simply by being a lighter, less tragic film.
Final Thoughts
While “Sorry, Baby” isn’t a terrible debut, it has flaws. The timing of Agnes’ trauma feels off. The film struggles to balance its comedic and dramatic elements. The underutilization of talented actors like Lucas Hedges, Naomi Ackie, and Kelly McCormack is a major weakness. The courtroom scene shows promise, but the film ultimately falls short of its potential. The ambiguity surrounding the central traumatic event weakens the narrative and makes it hard to connect with Agnes’ delayed reaction. The film feels uneven, and its praise is somewhat puzzling.
