It’s remarkable how accomplished Sorry, Baby feels for a first film. Eva Victor demonstrates considerable skill by writing, directing, and starring, succeeding with an inventive strategy. The movie centers on recovery from past hurt, but Victor avoids predictable storytelling methods. Rather than presenting the story in a serious or overly emotional way, she offers something more subtle, witty, even humorous, while still acknowledging the pain her character Agnes has experienced. The film portrays Agnes, a college professor who prefers to keep to herself, as she deals with life following a devastating event. Victor doesn’t sensationalize the trauma itself; instead, she focuses on what comes after—the gradual, uncomfortable effort of continuing forward when those around you have already resumed their lives. There's something universal about this film: it’s hard to pinpoint its setting, with no cell phones and a subdued color palette, which prevents it from feeling like a movie tied to current events and instead positions it as an exploration of how people endure hardship. Eva Victor and Naomi Ackie both deliver strong performances. Victor gives Agnes a unique quality that steers clear of stereotypes, while Ackie, playing her friend Lydie who has relocated to New York, connects the film to the reality that life doesn't wait for anyone’s suffering. Their relationship feels authentic, nuanced, and genuine. With this project, Eva Victor establishes herself as an impressive creative force, someone who understands it’s possible to treat challenging subjects with respect without resorting to melodrama, that healing isn't always straightforward, and that occasionally a delicate approach is precisely what difficult experiences need. It's a confident and noteworthy beginning.

Source on TMDB