Sorry, Baby might sound like an apology but it is really a quiet scream turned into art. Eva Victor’s directorial debut does something rare. It deals with trauma without drowning in it. It holds space for pain while still allowing its characters to laugh, to love, to exist beyond what happened to them.
Agnes, played by Victor, is not just a character. She is lived in. You see the shift in her before and after. Her face changes. Her silence deepens. But she is not broken. She is still here. Still funny. Still human.
The film never shows us the worst moment directly. Instead, it lingers on a house surrounded by color and quiet while something awful unfolds inside. We only realize what happened through Agnes’s eyes, her breath, her reaction. That decision is genius. It forces us to feel instead of just watch.
The scene where she tells a friend what happened is heart shattering. And the final speech to the baby? I am still thinking about it. It is not just a goodbye or a confession. It is an ode to anyone who survived through hardship and continued to walk.
There is a line about still living a tender life even after everything. That stayed with me. The film is not giving answers. It is offering survival. Honest survival. Not neat or cinematic but real. There are laughs. Sometimes awkward. Sometimes sharp. But it is all part of the same emotional mess we call living.
This movie revolves around the friendship between Agnes and Lydie. It feels soft and true. One has the other’s baby photo as a lock screen. That small detail almost broke me.
Not everything works perfectly. Some jokes miss. But when it hits, it hits hard. My theater went from laughing out loud to complete silence in seconds.
Eva Victor made something unforgettable. Raw. Kind. Fierce. It feels like life.
Sachin’s Take
- Score: 4.5 out of 5
- Favorite Moment: Agnes’s final speech to the baby
- Biggest Surprise: The assault never being shown directly
- Watch if you’re into: Emotionally raw stories, healing journeys, films that make you feel seen.
