As an Indian viewer, there’s something profoundly moving about watching a film that speaks to the universal language of healing, friendship, and resilience, while also carrying a distinctly personal touch. Sorry, Baby, the 2025 American independent black comedy-drama, marks the directorial debut of Eva Victor, who also writes and stars in this soul-stirring narrative. With a stellar cast including Naomi Ackie and Louis Cancelmi, this film, which premiered at the Sundance Film Festival and later closed the Directors’ Fortnight at Cannes, is a testament to the power of storytelling that balances raw emotion with subtle humor. For an Indian audience, it’s a film that feels both foreign and familiar, touching on themes of trauma, societal expectations, and the strength found in human connections.
A Story That Speaks to the Heart
Sorry, Baby follows Agnes (Eva Victor), a literature professor at a quaint New England liberal arts college, as she navigates the aftermath of a traumatic sexual assault by her former thesis advisor, Preston Decker (Louis Cancelmi). The story unfolds non-chronologically across five chapters, each representing a different year in Agnes’s life, weaving together moments of heartbreak, healing, and humor. Her best friend, Lydie (Naomi Ackie), serves as her anchor, bringing warmth and levity to their shared moments, while her neighbor Gavin (Lucas Hedges) offers a tender, albeit complicated, connection.
For Indian viewers, the film’s exploration of trauma might resonate deeply, given the cultural stigma often surrounding discussions of sexual violence. In India, where such topics are frequently hushed or met with judgment, Sorry, Baby feels like a quiet rebellion. It doesn’t sensationalize Agnes’s pain but instead focuses on her journey to reclaim herself, a narrative that could inspire conversations about healing in our own communities. The film’s refusal to define Agnes solely by her trauma mirrors the resilience many Indian women exhibit in the face of adversity, making her story feel like one we’ve seen in our own lives, even if the setting is a world away.
Performances That Shine Like Stars
Eva Victor, as Agnes, is nothing short of a revelation. Their performance is a delicate balance of vulnerability and dry wit, capturing the essence of a woman who is both broken and fiercely determined to move forward. For an Indian audience accustomed to larger-than-life Bollywood performances, Victor’s understated yet powerful acting feels refreshingly real. It’s like watching a friend navigate life’s complexities, reminding us of the quiet strength found in everyday survival.
Naomi Ackie, as Lydie, is the sun to Agnes’s moon, as Victor describes in interviews. Her warmth and effortless chemistry with Victor make their friendship the heart of the film. Indian viewers will find this bond reminiscent of the deep, unspoken loyalty we often see in our own friendships—those ride-or-die relationships that carry us through life’s darkest moments. Ackie’s ability to shift from playful banter to fierce protectiveness is a highlight, making Lydie a character you want to root for.
Louis Cancelmi’s portrayal of Preston Decker is chilling in its subtlety. He’s not a cartoonish villain but a charming, manipulative figure whose betrayal cuts deep. For Indian audiences, this portrayal might evoke the discomfort of recognizing how power dynamics in academic or professional settings can mask predatory behavior—a reality that transcends borders.
A Narrative That Feels Like a Conversation
The film’s non-linear structure, jumping between different years, keeps you engaged, much like a heartfelt conversation with a friend who reveals their story piece by piece. This approach, combined with Victor’s sharp dialogue, makes Sorry, Baby feel intimate, almost like a letter written in a moment of vulnerability. The humor, often dark and dry, lands perfectly, offering moments of levity that feel authentic rather than forced. For Indian viewers, this blend of comedy and tragedy might recall the way we use humor to cope with life’s challenges, whether it’s cracking jokes during a power cut or finding laughter amidst family chaos.
The film’s pacing, described by some as slow, is deliberate, allowing Agnes’s emotions to breathe. In a culture like India’s, where we’re often taught to “move on” quickly, this slow burn feels like a gentle reminder to honor one’s healing process. The cinematography by Mia Cioffi Henry, with its lingering shots of New England’s stark landscapes, adds a layer of poignancy, reflecting Agnes’s inner turmoil in a way that feels almost poetic.
Cultural Resonance and Universal Appeal
Sorry, Baby tackles themes that are universal yet deeply personal. The film’s focus on female friendship, the weight of societal expectations, and the struggle to reclaim one’s identity after trauma will strike a chord with Indian audiences. Lydie’s journey—coming out as gay, marrying, and having a child—adds a layer of inclusivity that feels progressive, especially in a country where such stories are still finding their place in mainstream cinema. The film’s refusal to shy away from difficult topics, while maintaining a light touch, makes it a powerful watch for anyone who’s ever felt stuck yet yearned to move forward.
The ensemble cast, including John Carroll Lynch as a compassionate restaurant owner and Kelly McCormack as a sharp-tongued former classmate, adds depth to the narrative. Each character feels like someone you might meet in a small Indian town—flawed, human, and capable of both kindness and cruelty. This relatability makes the film’s New England setting feel less distant, as if Agnes’s story could unfold in a college in Delhi or a quiet neighborhood in Kolkata.
Critical Acclaim and Why It Matters
The film has garnered widespread praise, with a 97% approval rating on Rotten Tomatoes and a Metacritic score of 89, indicating universal acclaim. Critics have lauded Victor’s ability to handle heavy subject matter with nuance and humor, with reviews calling it “one of 2025’s best debut films” and a “triumph of storytelling.” For Indian cinephiles, this critical success underscores the film’s potential to spark meaningful conversations about trauma and healing, much like films like Pink or Thappad have done in Indian cinema.
A Film That Stays With You
Sorry, Baby is not just a film; it’s an experience that lingers, much like a monsoon rain that leaves the air heavy with meaning. Eva Victor’s debut is a masterclass in balancing humor and heartbreak, offering a story that feels both deeply personal and universally relatable. For Indian audiences, it’s a chance to see our own struggles reflected in a different cultural lens, reminding us that healing is messy, friendships are lifelines, and resilience is a quiet triumph.
Whether you’re a fan of indie cinema or simply someone who loves stories that speak to the human spirit, Sorry, Baby is a must-watch. It’s a film that invites you to laugh, cry, and reflect, all while reminding you that even in our darkest moments, there’s light to be found.
