Sorry, Baby Has a Hard Time Talking About the Things We Can’t Talk About

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In a more conversational tone,

Talking about rape isn’t always straightforward, and there are definitely ways that are inappropriate. A clear example is found in the movie ‘Sorry, Baby‘, where Agnes (played by Eva Victor) goes to see a doctor after being assaulted by her thesis advisor during what was supposed to be a feedback session. The doctor’s approach is harsh and insensitive, as he rudely asks, “Do you feel safe now?” without considering the impact of his words. His manner towards Agnes’ roommate, Lydie (Naomi Ackie), who remains calm, is also off-putting, telling her to calm down and scolding Agnes for not coming in immediately for a rape kit. Agnes responds with dry sarcasm, “I will definitely keep that in mind for the next time.”

In the movie, it’s the doctor’s use of the word ‘rape‘ itself that causes the strongest reaction from both women, as if he had used a slur. The scene highlights the absurdities and shortcomings in dealing with rape, even though everyone agrees it’s a serious offense. For instance, college administrators inform Agnes that there’s nothing they can do because her advisor resigned before she reported the incident, yet they claim, “We know what you’re going through. We are women.” Despite these flaws, the movie effectively captures the complexities and challenges in dealing with such sensitive issues.

In Sorry, Baby, director Victor, known for his work on Reductress and Twitter videos such as “Straight Pride”, makes his first feature film debut. The movie explores language in a thought-provoking yet frustrating manner. Agnes, an accomplished English professor at a small Maine college, has a unique talent for dissecting words but finds herself struggling to find the right ones to describe her own experiences. The term used by the doctor to describe an event depicted through a series of exterior house shots, from day to dusk to night, doesn’t quite fit. While terms like “rape” and “attacker” are technically accurate, they carry connotations of violence and a stranger attack that don’t align with the specific nature of the violation Agnes experienced. Preston Decker (Louis Cancelmi), a respected novelist whom Agnes admires, is someone she considered a friend and mentor. However, he crossed boundaries she had set, disregarding her signals. When Agnes recounts what happened to her best friend Lydie, it’s the betrayal that stands out, not just the act itself. Even in trying to comfort Agnes, Lydie avoids saying the word, instead saying, “That sounds like … that.

Although “Sorry, Baby” skillfully addresses the constraints in discussing such violent incidents, it sometimes veers towards secrecy regarding the subject itself, using characters’ evasiveness as a substitute for depth. The issue lies primarily with Victor, whose performance is not as robust as those of the other cast members, particularly Ackie, who is vibrant and captivating, as well as Lucas Hedges portraying Agnes’s quirky neighbor and casual lover, Gavin. Agnes often responds with witty remarks and detached comments, whereas Victor adopts a smirk that fails to reveal his inner turmoil, coming off more “check out these pitiful individuals” rather than “look at how conflicted I am with the world.” When Lydie, visiting Agnes from New York several years after the assault, says goodbye by telling her “Don’t die,” it falls flat as it’s not touching but puzzling, since we can’t decipher its origin. Agnes often feels exasperated by everyone except Lydie who seems unable to grasp what she’s going through and what she requires. However, the film relies on us to infer Agnes’s thoughts, just as her closest friend does, picking up on all the things she can’t find a way to express. The phrase “don’t die,” suggesting trauma is something you catch like a cold, encapsulates how the movie slips into what Parul Sehgal referred to as the “trauma plot.” Ultimately, “Sorry, Baby” focuses more on Agnes’s rape incident rather than her character, creating an incomplete portrayal of Agnes by continually revolving around the assault, unwittingly sanctifying the attack.

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2025-06-27 19:58