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Sorry, Baby
Review by Rich Cline |
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![]() dir-scr Eva Victor prd Mark Ceryak, Barry Jenkins, Adele Romanski with Eva Victor, Naomi Ackie, Lucas Hedges, Louis Cancelmi, Kelly McCormack, John Carroll Lynch, Hettienne Park, ER Fightmaster, Cody Reiss, Jordan Mendoza, Anabel Graetz, Celeste Oliva release US 27.Jun.25, UK 22.Aug.25 25/US 1h43 ![]() ![]() ![]() SUNDANCE FILM FEST CANNES FILM FEST Is it streaming? |
![]() Displaying remarkable thoughtfulness, actor-filmmaker Eva Victor takes on a big topic with humour and sensitivity, daring to ask questions that most movies dodge. A clear-eyed point of view helps make the messy central character extremely easy to identify with even if the story's chapters are presented out of order. As a result, the film's approach is both fresh and vivid, continually catching us by surprise with its resonant insight. Staying on after completing her thesis, Agnes (Victor) now teaches English at her university, living in an isolated house with her cat. She's delighted when newly married best friend Lydie (Ackie) visits for a weekend, announcing that she's pregnant. Less exciting is dinner with their hypercritical friend Natasha (McCormack). All of this sparks a series of memories going back three years to her professor (Cancelmi) and an event that has shadowed her life. But over the months she finds solace with the help of Lydie, her cat, a stranger (Lynch) and cute neighbour Gavin (Hedges). Victor's filmmaking is almost disarmingly matter-of-fact, deploying the unflinching conversational style of close friends, which is rarely captured so naturalistically on-screen. This means that heavy subjects are discussed with a raw honesty that can be both knowing and hilarious. Meanwhile, Mia Cioffi Henry's astute cinematography remains up-close to capture Agnes' perspective within a variety of interactions. So the way she navigates this situation feels bracingly authentic, and also revelatory on a much deeper level. Because of the intimate style, performances are warm and open-handed, infused with a wry sense of humour. Victor gives Agnes a likeable quirkiness, which skilfully never tips into silliness. Her conversations with Ackie's straight-talking Lydie are beautifully played to capture the way jokes weave their ways into even the gravest of discussions. Hedges is also superb in a smaller role that brightens up the story every time he appears, a blast of superbly awkward positivity exactly when he's needed most. Most unusual is the way Victor refuses to cast anyone as a villain, instead grappling with the situation in ways that are sometimes frustrating to watch but always full of badly needed insight and balance. The ideas that sometimes good people do bad things and that bad things happen to everyone are raised and essentially brushed aside as Victor digs much deeper into an important emotional reality. So where Agnes goes in this journey is both important and intensely involving.
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© 2025 by Rich Cline, Shadows on the Wall | |||||
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