Eva Victor
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…many of the extended interactions between Agnes and Lyide are purely cathartic in their depiction of female friendship, harkening back to early 21st century indie classics like “Ghost World” or “Frances Ha.”
The difference is that the people around Frances react to her comedy shield. In addition, Baumbach tends to switch more often between comedy and realism. This gives “Frances Ha” more stinging scenes that hit hard.
The Hedges casting also firms up a connection between Sorry, Baby and Kenneth Lonergan’s Manchester by the Sea, another drama set in small-town New England about a character trying to live in the site of a past trauma.
Lucas Hedges, who is such a charmer he occasionally makes you wonder if this is a Manchester by the Sea sequel in disguise.
Its dexterous balancing of light and dark is reminiscent of Manchester By The Sea, but Victor’s brand of solace-offering humour is all their own.
Lucas Hedges, "Manchester by the Sea"…
I was reminded why he was seemingly everywhere after his breakthrough in 2016’s Manchester by the Sea.
Lucas Hedges (Manchester by the Sea, Ladybird)…
She reminds me of Phoebe Waller-Bridge, and fans of Fleabag might dig her deadpan, wry humor.
…join the internet's pantheon of imperfect heroes alongside Phoebe Waller-Bridge's Fleabag…
The film focuses on neither the abuser's manipulation, like Tár (dir. Todd Field, 2022), nor the survivor's recovery, like Sorry, Baby (dir. Eva Victor, 2025), but rather the disconnect between older and younger generations of feminists rooted in the different survival strategies each generation employs.
If you want to have a tough conversation, Sorry, Baby; May December; and yes, even Tár are movies that have tread similar hunting grounds with much more depth.
Victor is a singular voice, much like their discovery of Charlotte Wells with her 2022 debut Aftersun, not offering a blanket revelation or resolution but embracing a shared experience of the most vulnerable aspects of lives fictional and real, with fresh eyes and a fresh perspective.
In 2022, we had Charlotte Wells with Aftersun…
Sorry, Baby is a good story well told and was notably co-produced by Moonlight director Barry Jenkins, who also co-produced Aftersun, another impressive debut, by Charlotte Wells.
That accolade has previously gone to movies like You Can Count on Me, The Station Agent, and A Real Pain, and Sorry, Baby fits right in with those comedy-dramas that take an empathetic approach to people struggling on screen.
I’m curious if it will follow a similar award path as other Sundance hits like A Real Pain, CODA, Minari, and so on that made it to the Oscars.
(The sequence might remind you of the famous tracking-shot murder, from inside to the bustling street outside, in Hitchcock’s “Frenzy.”)
That accolade has previously gone to movies like You Can Count on Me, The Station Agent, and A Real Pain, and Sorry, Baby fits right in with those comedy-dramas that take an empathetic approach to people struggling on screen.
…many of the extended interactions between Agnes and Lyide are purely cathartic in their depiction of female friendship, harkening back to early 21st century indie classics like “Ghost World” or “Frances Ha.”
That accolade has previously gone to movies like You Can Count on Me, The Station Agent, and A Real Pain, and Sorry, Baby fits right in with those comedy-dramas that take an empathetic approach to people struggling on screen.
While many movies and TV shows have expertly tackled the complexities of sexual trauma, including Gregg Araki's Mysterious Skin (2004) and Michaela Coel's I May Destroy You (2020), Sorry, Baby avoids any of their visceral displays of brutality.
The gap in our culture left by the departure of Lena Dunham’s Girls has never seemed so large.
Perhaps the next Whiplash or Beasts of the Southern Wild.
Perhaps the next Whiplash or Beasts of the Southern Wild.
While many movies and TV shows have expertly tackled the complexities of sexual trauma, including Gregg Araki's Mysterious Skin (2004) and Michaela Coel's I May Destroy You (2020), Sorry, Baby avoids any of their visceral displays of brutality.
…like the use of “smash-smortion” in Knocked Up to reference a tabled option for an unplanned pregnancy…
These moments are reminiscent of Wim Wenders’ Perfect Days (2023), a film that focuses on the contentment to be found in simplicity, as Victor reminds us that life’s smallest glimmers are what sustain and slowly heal us.
As for their personal favorite film of the year? No hesitation. “Sinners. It’s so fucking good,” she said. This checks out. Both Sinners and Sorry, Baby made their mark not by reinventing the wheel, but by steering it somewhere you didn’t expect. Bold, original, and deeply felt, they take familiar frameworks and crack them apart just enough to let something real bleed through.
…the aforementioned moment with an insensitive doctor recalls Broad City’s duller polemics…
Written, directed, and starring Eva Victor (previously known for her role on Billions)…
The film is quite a multihyphenate calling card for Victor (“Billions”), whose powerfully understated performance is matched by an evocative visual style that favors long takes and emphasizes facial expressions.
Writer/director/star Eva Victor (Billions) made one of the most confident debuts at Sundance earlier this year…
Louis Cancelmi, TV's 'Billions'…
Professor Decker (Victor’s Billions co-star Louis Cancelmi, excellent here)…
Never having seen the TV series Billions, where she features as character Rian, nor her online content, I wasn’t familiar with the comedian.