Movies

In ‘Sorry, Baby,’ a young professor harbors private pain and a new voice emerges

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Eva Victor’s character Agnes appears like a timeless Hollywood film star in terms of her appearance, yet she dresses in a way that resembles an old fisherman. Her facial expressions are enigmatic; it’s challenging to predict what she might say or how. When queried about how her friends would describe her on a written questionnaire, she initially wrote “smart,” then crossed it out and changed it to “tall.” She embodies all those characteristics: tall, smart, striking, endearingly awkward, hard to read. And she is an enthralling, singular cinematic presence that serves as the center of the universe for the debut feature film “Sorry, Baby,” directed by Victor herself, who not only stars but also writes and directs this captivating production.

As a fervent admirer, I found Agnes’ past heartrendingly familiar, as it was unveiled with raw sincerity, piercing wisdom, and an unexpected dash of humor that resonated deeply. Victor’s screenplay, which clinched the Waldo Salt Screenwriting Award at this year’s Sundance Film Festival during the film’s premiere, masterfully enables Agnes to narrate her experiences in a manner true to her voice, while safeguarding the most private traumas.

Nestled within the frosty surroundings of an English department at a university in rural Massachusetts, “Sorry, Baby” possesses a distinctly literary flair, as evidenced by its chapters titled out of sequence (such as “The Year With the Baby,” “The Year With the Bad Thing”). This structure effectively introduces and develops our main character, her environment, and several intriguing enigmas.

At the university where she did her post-graduate studies, Agnes holds the position of an English professor. However, our story begins with Agnes being Lydie’s close friend, who comes for a winter getaway. Upon their reunion, these two friends, bound by mutual dependence, share cozy moments on the couch and share humorous reminiscences about intimate matters. Lydie is intrigued by the friendly stranger, Gavin (Lucas Hedges), who unexpectedly shows up at Agnes’s doorstep, being a neighbor familiar to her.

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The creator, lead actor, and filmmaker behind this year’s standout production, ‘Sorry, Baby’, has emerged as an exceptional talent, skillfully handling themes such as trauma and camaraderie in a sensitive and layered manner.

Lydie’s worry for her friend is evident, yet subtle. When Lydie discloses her pregnancy to Agnes, it’s as if she’s speaking to a child who needs gentle guidance. Strangely, Agnes embraces this role with Lydie. Lydie tactfully inquires about Agnes’ job and the person who previously held it. She presses Agnes on her decision to stay in this town, implying its burden. Agnes responds, “It’s a lot to be anywhere,” suggesting the weight of location. Lydie implores Agnes, “Don’t leave me,” to which Agnes replies she’d already taken her own life if that were the case. This phrase, “cold comfort,” encapsulates the overall tone of “Sorry, Baby.

I, as an admirer, find myself turning the pages back to a time before Victor’s graduation, a period when Agnes appeared less rigid in her quirks. Preston Decker, a man both charming and overwhelmed, praises Agnes’ work as “extraordinary” and rearranges their meeting due to a family emergency involving child care. The circumstances lead us both to his residence, where the day gradually transforms into twilight and eventually nightfall.

Following the event, both anticipation and fear are realized, but it’s not until Agnes shares the painful narrative with Lydie later in the evening that we learn about it. The aftermath leaves Agnes emotionally paralyzed, switching between automatic pilot and impulsive actions. Lydie stands by her friend fiercely, even indirectly enabling her, until she must move forward with her own life. This departure leaves Agnes trapped, stuck in that house, office, town, and night as if encased in amber.

As a movie enthusiast, I can’t help but admire the architectural feel that permeates Victor’s filmmaking technique, evident in the thoughtfully constructed narrative and meticulously edited scenes. The prolonged shots of buildings silhouetted against an icy backdrop, their windows either inviting or mysterious, encapsulate a unique brand of bittersweet New England resilience. Similarly, Victor portrays Agnes with a similar sensitivity and depth, capturing her essence in the most compelling way.

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The depth and genuine sincerity found in every scene make “Sorry, Baby” a film that stays with you long after viewing. Although Agnes’ actions may seem odd or unrealistic at times, such as unexpectedly arriving at Gavin’s door in an excited state, they are consistent with her character.

It appears that Agnes remains an enigma, even to herself, suppressing her emotions until they unexpectedly burst forth. She navigates her daily routine in a continuous pattern of repression and eruption, becoming increasingly fractured until she splinters entirely. The crux of her journey lies in discovering a space where she can be vulnerable once more.

The healing or release in the movie primarily stems from the title’s apology, which carries a sense of regret rather than true remorse. Unfortunately, life’s trials and the actions of others can leave us feeling vulnerable and compelled to build walls around ourselves through isolation, moving to small towns, hiding in large coats, or living alone in big houses. However, complete safety from such experiences is impossible to achieve.

Life, at times, can shatter us with its challenges and the complexities of human relationships. Yet, amidst the fragments, there exist moments of solace – like cuddling with a purring kitten, indulging in a warm bath, or sharing laughter with cherished friends. There’s also that perfect sandwich that can momentarily take our minds off things.

In the midst of this chaos, there are artists such as Victor, who weave stories brimming with emotion. These narratives have a magical way of mending us, even if just for a brief respite.

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2025-06-27 13:32

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