Something bad happened to Agnes. But life goes on – for everyone around her, at least.
Eva Victor’s “Sorry, Baby” may take on a cutesy appearance — broken into chapters titled like episodes of the television show “Friends” — but don’t let that fool you. Victor’s film, which she writes, directs, and stars in, has a bite to it, leaving a lasting resonance even after the credits have rolled.
That may be overplaying things a bit, after all, this isn’t groundbreaking cinema, and “Sorry, Baby” does tell a familiar story. However, it tells this story very well. The film focuses on Agnes (Eva Victor), a young professor at an unnamed university, who has experienced some untold traumatic event. This event dauntingly hangs over the film.
Like many modern movies, Victor plays with the timeline. She opens close to the present before jumping back in time to reveal the situation, before jumping yet again to another point in the story. At the same time, it can make things slightly confusing, its not enough to take away from the storytelling.
One of the central ideas and key takeaways of Victor’s film is that bad things happen. Agnes’s close friend Lydie (Naomi Ackie) is by her side, helping Agnes navigate the situation that’s been thrown at her. Their friendship is one of the film’s focal points and strengths, with both actresses offering strong performances. This relationship is established during the opening sequence and further developed through seemingly tiny moments and actions as the story progresses.
“Sorry, Baby” tackles some heavy subject matter — sexual assault — but does so in a respectful, tactful manner. This is not a graphic piece of exploitation out to shock the audience. This movie illustrates how trauma affects the character. Despite the bleak material, Victor skillfully balances the film’s tone, offering some surprisingly (and darkly) humorous moments from Agnes’s misfortune (and no, this humor is not at the character’s expense). Victor keeps her work from becoming too overbearing, unafraid of moments of brevity.
Ultimately, this movie is a nuanced portrayal of a real-life situation, skillfully told with some well-composed cinematography. Victor leaves the audience on an uplifting note, making us hopeful for these characters’ futures. The audience seemed to very positively react to what they were viewing on the screen, and I don’t think I heard any disparaging remarks as people were filing out. If the crowd I saw this with is any indication, the studio has a crowd pleaser with this release. If this isn’t on your radar, it’s worth your time to seek out.
In Dallas Theaters, Friday, July 18th
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