Sundance Film Festival 2025 – Writer/director Eva Victor‘s Sorry, Baby is at least in part about power dynamics. It features an inappropriate relationship between graduate student Agnes (Victor) and her advisor, Professor Decker (Louis Cancelmi). It also explores some of the cutthroat dynamics of academia itself, specifically within small graduate writing programs. Yet, more than anything, the film carefully examines Agnes’ trauma after a sexual assault.

The feature bounces back and forth between major events in Agnes’ life. It opens just as she has a reunion with her former grad student cohort, including her best friend Lydie (Naomi Ackie). It’s evident that Lydie and Agnes maintain a special kind of relationship, even though Lydie moved to New York City. Later, it becomes clear how much Lydie offered her support after the sexual assault. Shortly before the halfway point, the film focuses on the sexual assault and the aftermath. We then see just how much this affected Agnes, not only her studies, but her relationships with others.

Despite some of the heavy subject matter, this film does include some comedic lines. Victor really excels at balancing the weight of Agnes’ story with a few lighter moments. It can’t be understated just how much sharp dialogue this film contains. This is one fine-tuned script. There’s even a scene when Lydie accompanies Agnes to the doctor after the sexual assault. The back and forth between the doctor (Marc Carver) and Agnes is some of the most poignant dialogue in the script. On the one hand, the doctor needs to do his job with the questions he asks. There’s a clinical coldness to the exchange. The tone of the questions upsets Agnes, perhaps rightfully so. It also forces her to confront what happened.

The performances elevate the film, too. Victor really handled the lead role well. She gives a complexity to the character, forged by what happens to Agnes. Lucas Hedges, who plays Agnes’ neighbor Gavin, is another standout, despite his limited screentime. His character has a softer sort of masculinity that’s a contrast to the abuse Professor Decker inflicts upon Agnes. He shows that not all men are bad, as cliche as that sounds. Kelly McCormack is another highlight as Natasha, Agnes’ frenemy. There’s a jealousy there that only deepens after their university offers Agnes a full-time teaching position. This is unheard of, yet it also forces Agnes to think about her future. Does she want to teach, or does she want to be a writer? Can she balance both?

Meanwhile, Victor underscores the unjust power dynamics between Agnes and Professor Decker through constant references to Lolita. When Agnes lands her full-time teaching gig, it’s one of the first novels she covers with one of her classes. Yet, there’s also this desire, maybe, for Agnes to freeze herself in time, to not face her uncertain future, or maybe to rewind before the sexual assault. She even points out to her class that Humbert, the older male character, desires to keep Lolita at a fixed point in time.

Sorry, Baby is a smart feature and complex character study. Despite its heavy subject matter, it’s not without its lighter moments, which is a testament to the well-written script.  Victor is a director to watch.