Rating: R | Runtime: 103 minutes
Release Date: June 27th, 2025 (USA)
Studio: A24
Director(s): Eva Victor
Writer(s): Eva Victor

I don’t see myself.

An extremely memorable debut in its authentic handling of sensitive subject matter and narrative structure. For first-time filmmaker Eva Victor to give us where Agnes is today as a sort of unreliable litmus test of how she’s doing sans context before rewinding to show just how far she’s come from the worst day of her life proves a thought provoking approach to fear, guilt, and uncertainty that guarantees we stay emotionally invested throughout.

Sorry, Baby is a collection of moments—touchstones on its lead’s road to recovery that never shy from their inherent awkwardness thanks to how careful Victor is in giving Agnes the autonomy to keep details of what happened private. It really helps the rougher (Kelly McCormack’s Natasha’s admission) and sweeter (John Carroll Lynch’s Pete’s ability to prove his distinction between “asshole” and “honest” correct) moments shine equally.

Because there’s no right or wrong way for Agnes to move forward. Only the people she allows to remain in her life during those next steps. Naomi Ackie and Lucas Hedges are fantastic in those roles, the supporting cast embraces their characters’ imperfections, and Victor delivers a quietly heartbreaking yet hopeful central performance that ties the innate drama of traumatic experiences to the unavoidable humor that comes from confronting them without concrete rules.

I really thought Hettienne Park’s lawyer was coming back as a much bigger piece of the puzzle, but am glad she didn’t because providing Agnes another deer-in-the-headlights voyeur to her pain would undercut the message. I do, however, hope Victor mirrored her profession elsewhere to force us to consider and dread their potential connection.

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Eva Victor in SORRY, BABY; courtesy of A24.