Sorry, Baby (2025)

The review calls Eva Victor’s debut breathtaking and says she has nothing to be sorry for. It singles out the film’s emotional insight and warmth.

Petter warmly praises the film as an exceptionally truthful depiction of sexual trauma and healing. She singles out the supportive friendship between Agnes and Lydie as central to its emotional power.

The critic calls the film a darkly funny, tender, and major debut. She especially praises Victor’s finely tuned performance and the film’s empathetic balance of humor with painful subject matter.

Walsh finds Victor’s debut a sensitive, nuanced triumph that lingers. She particularly praises Victor’s detailed honesty in portraying trauma and female friendship.

McIndoe finds the film sharply funny without diminishing the devastation of Agnes’s experience. He praises the performances and subtle writing for conveying her dissociation, while highlighting the absurd, unresponsive bureaucracy she faces.

The review calls the film a fresh, thoughtful and tenderly funny reinvention of the trauma plot. It praises Victor’s deft balance of light and dark, especially the perceptive scene where Agnes discusses trauma over a sandwich.

Chang finds the film quietly heroic and original, praising its humane, non-linear portrayal of pain and healing. He singles out its unexpected humor as a particularly effective way to resist defining Agnes by her trauma.

Oller praises the film as a funny, affecting, and formally assured account of trauma and recovery. He singles out Eva Victor’s performance and the nonlinear structure for making the story feel vivid and lived-in.

Debruge finds Victor’s debut warm, compassionate, and quietly affecting in its portrayal of rebuilding after trauma. He especially praises its elliptical storytelling and lived-in everyday details for creating a subtle, lasting impact.

Strong finds the film tender and reassuring in its portrayal of life after assault. She praises its small moments of kindness and the friendship between Agnes and Lydie.

The review finds Victor’s debut assured, tender and defiantly funny, with a wry tone that makes its treatment of trauma feel distinctive. It particularly praises Victor’s deadpan performance and the daring one-take shot following Agnes after the assault.

Horton praises the film as a funny, humane account of life after sexual assault. She particularly singles out Victor’s naturalistic portrayal of the aftermath and the intimacy between the two friends.

Frosch finds the debut frank, funny, and tender, though occasionally too easygoing and visually cautious. He especially praises Eva Victor’s performance and the warm, convincing chemistry between Victor and Naomi Ackie.

The standfirst presents the film as an insightful drama debut. The accessible text does not identify a specific element the critic singles out for praise or complaint.

The page appears to be a festival review, but its verdict is unavailable. No specific praise or complaint can be verified from the blocked page.

The page is inaccessible, so the critic’s verdict cannot be determined. No specific praise or complaint is available from the supplied text.

Willmore finds the film promising in its treatment of language but more often exasperating for substituting evasiveness for insight. She praises Naomi Ackie’s performance as Agnes’s effervescent, supportive friend.

Hammond gives the film a strongly enthusiastic verdict, calling it an assured and heartfelt debut. He particularly praises Eva Victor’s layered performance and her deft balance of dry humor with the story’s trauma.

The critic calls the film an unforgettable, exceptionally accomplished Sundance debut. They especially praise Eva Victor’s pitch-perfect balance of humor and drama, supported by its non-chronological structure and strong performances.

The critic calls the film a moving, cathartic debut that balances painful truths with humor. They especially praise Victor’s restrained, compassionate writing and performance in portraying Agnes’s trauma.

Crump calls the film a thoughtful, sobering work that remains a joy. He praises its deft blend of sardonic humor and melancholy, which lets Agnes be a whole person beyond her trauma.

Bonaime calls the film a fantastic debut and Victor an exciting new filmmaking voice. He praises Victor’s deft, often humorous handling of trauma and the tender friendships that support Agnes.

Mathews finds the film a moving, ultimately celebratory portrait of resilience. He praises Victor’s quiet, thoughtful storytelling and its focus on Agnes’s life beyond her trauma.

Paddock finds the film poignant and well worth seeing, though it never quite realizes its potential. She especially praises the honest performances and the rigorous, non-exploitative treatment of sexual assault and its aftermath.

The page is blocked, so the critic’s verdict cannot be determined. The URL identifies it as a Sundance review focused on Eva Victor’s perspective on sexual assault.