A critical success and award winner at this year’s Sundance Film Festival, Sorry, Baby is the directorial debut of its writer and star, Eva Victor. The film follows Agnes (Victor), an English professor at a small American college, in the aftermath of a sexual assault by one of her teachers when she was a student there.

The story, based on Victor’s own experience of trauma, is structured in non-linear chapters that encompass the time after, before and during the assault. This makes for a raw and unflinching, yet nuanced, depiction of trauma’s aftermath, which presents Agnes as a fully rounded and complex character.

The film resists the idea that trauma must define a character’s identity, instead exploring how people live with, around and beyond painful experiences. Agnes is funny, awkward, self-aware, sometimes messy, wholly real and excellent at her job. She refers to the sexual assault euphemistically as “the thing” or “the bad thing”, which Victor has said is an attempt to protect vulnerable audience members.

This sensitivity is evident throughout Sorry, Baby. The film is directed with a lightness of touch, and its naturalistic scenes are laced with both humour and emotion. Agnes’s story is told on her terms. The beautiful opening chapter celebrates the fierce love and loyalty of female friendship.

Agnes is visited by her friend Lydie (Naomi Ackie), who comes to announce her pregnancy. Ackie and Victor have strong onscreen chemistry, making the women’s bond a joy to watch, filled with humour, natural physical closeness and underlying emotional depth.

The narrative chapters move forwards and backwards in time. The facts of the assault are told in a tight, close-up monologue by Agnes. The assault itself is not depicted onscreen; the viewer sees Agnes enter her lecturer’s house, and the frame holds this exterior shot as darkness falls and time passes. Agnes emerges clearly upset, and the camera remains on her back as she returns home.

As she speaks to Lydie and recalls what she can remember about the assault, the camera acts like a patient and empathic listener, trained on Agnes’s face as she tells her story. This directorial choice by Victor gives Agnes agency in this moment. It is her experience, told in her words and in her own time. It is devastating.

In the decade since #MeToo, many films have emerged centring on women’s experiences of trauma. Typically, these narratives begin with the revelation of abuse or harm, move through the emotional or social consequences and then arrive at some form of reckoning or resolution.

Films such as Women Talking (2023) and Promising Young Woman (2020) follow this arc, using female trauma as a starting point for deeper questions around accountability, healing and resistance. This approach can create a powerful emotional impact while raising awareness of the issues presented.

But when film-makers like Victor depict female characters in a broader light, not solely defined by trauma, something arguably more authentic begins to emerge.

Agnes is a character who experiences trauma but also humour, joy, contradictions, desire and strength. This allows for rich storytelling and a deep emotional connection with the audience.

By rejecting a tidy narrative arc in favour of something more fragmented and realistic, Sorry, Baby becomes a reflection of Agnes’ healing journey. It engages with the realities of her trauma while also making space for agency, joy, and the absurdities of life.

Agnes’s story contains characters who are shockingly unwilling to help. She has an encounter with an indifferent doctor which must be seen to be believed. But she also meets kindness, and these scenes are often charming, bittersweet and profound. Lucas Hedges is a warm presence as Gavin, Agnes’s neighbour with whom she is in the early stages of a relationship. With care, the romantic subplot is shown as another layer of Agnes’s life, not as a means of healing or resolving her trauma, but as something which exists alongside it.

A scene with a kind stranger, a sandwich shop owner, speaks volumes without saying much and lingers powerfully. He is in exactly the right place at the right time for Agnes and shows her understanding and empathy when she needs it most.

Sorry, Baby is funny, sad and often profound. It feels real and natural, capturing the unpredictable rhythms of life with warmth and honesty. Eva Victor’s direction embraces complexity, offering a story which feels deeply lived-in and profoundly human.

Through Agnes, we see pain and humour side by side, awkwardness and strength intertwined. This debut marks Victor as a distinctive voice in contemporary cinema, one who trusts her characters and her audience alike. With Sorry, Baby, Victor shows us a new way to tell stories about trauma, healing, and the small, vital moments in between. This is a filmmaker to watch.

Sorry, Baby is in cinemas now

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This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Laura O'Flanagan, Dublin City University

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Laura O'Flanagan does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.