Eva Victor’s inaugural feature, “Sorry, Baby,” stands out as an exceptional comedy where she takes on writing, directing, and acting roles. The film created considerable excitement at Sundance, resulting in Victor receiving the Waldo Salt Screenwriting Award and its acquisition by A24, a distributor celebrated for films such as “Lady Bird,” “Everything Everywhere All at Once,” and “Midsommar.” Despite its Sundance acclaim, “Sorry, Baby” is not merely an obscure arthouse film, but rather a heartfelt narrative about trauma and recovery, notably impressive for Victor’s debut project.

Prior to her filmmaking career, Victor rose to fame online through viral clips that spoofed conservative outrage and film noir tropes. Nevertheless, her film judiciously steers clear of this frenetic energy, which may not align with a feature-length narrative or its gravitas. Instead, Victor develops a tone that is both sincere and charmingly unconventional.

The log line from Sundance was ambiguous: “Something bad happened to Agnes. But life goes on… for everyone around her, at least.” This ambiguity underscores the filmmaker’s thoughtful treatment of the pivotal incident. Agnes, portrayed by Victor, experiences sexual assault at the hands of a trusted friend. The film navigates this occurrence not as a shocking plot twist but as a gradual revelation. Divided into three segments, “Sorry, Baby” opens with “The Year with the Baby,” set years after the incident. Agnes is visited by her close friend Lydie, played by Naomi Ackie, and their close bond is apparent. While Lydie has progressed in her life, Agnes feels trapped, which is examined in the second segment, “The Year with the Bad Thing.”

In this flashback, Agnes is a graduate student under a revered professor. The assault transpires off-camera, with the lens lingering outside as day transitions to night. Agnes returns to Lydie, grappling with how to express what has transpired. The term “rape” feels overwhelming, mentioned only by an indifferent doctor in urgent care.

Despite the heavy themes, Victor injects absurd humor into the narrative, showcasing the absurdities that can coexist with trauma. She also emphasizes moments of grace, illustrating how individuals can transcend past hardships. A subtle instance occurs when Agnes, now a teacher, experiences a panic attack. Initially confronted by a brusque man regarding her parking, his demeanor softens upon witnessing her discomfort. John Carroll Lynch, expertly cast, transitions from frightening to kind, assisting Agnes with a breathing exercise and presenting her with a sandwich. This quirky yet tender moment epitomizes the film’s fusion of empathy and trepidation.

“Sorry, Baby” adeptly harmonizes various tones and features a compelling ensemble. The movie both begins and concludes with “The Year with the Baby,” centering on Lydie’s supportive visits, urging Agnes to rethink her life decisions. Agnes remains embedded in her academic world, while Lydie has progressed. Through Lydie’s encouragement, Agnes gradually starts to break free from her stagnation.

Victor’s performance is anything but self-indulgent; Agnes is portrayed as authentic and clumsy, as evidenced in a scene with Lucas Hedges’ character. These vulnerable moments draw viewers into Agnes’ experience. The supporting cast, including Ackie, Hedges, Lynch, and Kelly McCormack, enhances the film’s dynamic tone and distinctive storyline.

Together, they weave a narrative that is both familiar and original, with humor alleviating its harsher elements. As the film’s title acquires significance, the outcome is both heart-wrenching and therapeutic. Evocative, brilliant, and warmly hilarious, “Sorry, Baby” is set to captivate audiences beyond Sundance, thanks to Victor’s impactful and unique narrative voice.

“Sorry, Baby” is currently in theaters.

UPDATE: Jun. 26, 2025, 2:17 p.m. EDT “Sorry, Baby” was reviewed out of the 2025 Sundance Film Festival. Originally published on Feb. 6, 2025, this article has been revised to include current viewing details.