Sorry, Baby’: A Touching Comedy Review
“Sorry, Baby” Is a Devastatingly Funny Look at Trauma and Academia
Table of Contents
Sorry, Baby-released in select theaters June 27-is an often hilarious, frequently devastating look at not only the aftermath of a sexual assault but also a womanS place in academia. This isn’t a sensationalized retelling, but a nuanced and deeply human portrait of a life irrevocably altered, and the quiet strength it takes to navigate the pieces.
A professor’s Past Unravels
The film centers around Agnes (played with remarkable depth by Naomi Victor), a young, tenured English professor at a small, prestigious liberal arts college in New England.The narrative unfolds nonchronologically, skillfully weaving together Agnes’s journey from graduate student to professor, the evolution of her close friendships, and the pivotal sexual assault that reshaped her world.
This fragmented structure isn’t disorienting; instead, it mirrors the way trauma often exists – not as a linear memory, but as shards of experience that resurface unexpectedly. We’re immediately introduced to Agnes through the eyes of her longtime friend, Lydie (Naomi Ackie), who arrives for a visit.Their intimacy is striking – they share a bed, a history, and a level of comfort that speaks to years of unwavering support.
Through sharp, witty dialog, Lydie’s concern for Agnes becomes palpable. Victor masterfully employs subtle cues, revealing Agnes’s internal struggles without resorting to exposition. A simple question – “Do you ever leave the house?” – carries the weight of unspoken pain and isolation.
Beyond the Assault: A Life Fully Lived
What sets Sorry, baby apart is its refusal to center the assault itself. The act of violence occurs off-screen, a deliberate choice that avoids exploitation and respects Agnes’s experience. There’s no dramatic quest for revenge, no tidy resolution of forgiveness. Rather, the film focuses on Agnes – her suffering, her resilience, and her life beyond the trauma.
this isn’t to say the film shies away from the impact of the assault.It’s a constant undercurrent, shaping Agnes’s relationships, her career, and her perception of the world.But Victor wisely avoids defining her solely by this event. We see Agnes as a complex individual - flawed, funny, intelligent, and deeply human.
The film beautifully portrays Agnes’s awkward yet honest sexual encounters with her neighbor (Lucas Hedges), showcasing her attempts to reclaim agency and intimacy on her own terms. A particularly memorable cameo from John Carroll Lynch as a kind-hearted sandwich shop owner adds a touch of warmth and humanity, offering a moment of respite during a panic attack. these moments, both big and small, contribute to a richly textured portrayal of a woman navigating a world that often feels opposed and isolating.
A Bold New Voice in Filmmaking
Sorry, Baby avoids the pitfalls of trauma porn or melodramatic excess. It’s a quiet film about unquiet things, a testament to Victor’s skill as a storyteller.She doesn’t pander to expectations, instead offering a raw and honest portrayal of trauma and its aftermath. The film manages to elicit both laughter and tears, a delicate balance that speaks to the complexities of the human experience.With Sorry,Baby,Naomi Victor establishes herself as a major new talent,a filmmaker who isn’t afraid to tackle difficult subjects with nuance,sensitivity,and a surprising amount of humor. It’s a film that stays with you long after the credits roll, prompting reflection on the challenges faced by women in academia and the enduring power of friendship in the face of adversity.
To see our running list of the top 100 greatest rock stars of all time,