Agnes and Lydie have been close friends since their college days. While Lydie moved to New York, Agnes works as a literature professor at her old university in New England. Despite her career success, her life seems to be standing still in contrast to Lydie. Not only has her location and relationship status remained unchanged, she also lives in the same house that she now shares with her cat Olga instead of Lydie. Between the lighthearted, teasing conversations between the two, Lydie's caring nature and Agnes's insecurity suggest that Agnes is not simply lazing under the sofa blanket, but is stuck under a heavier weight.

In five achronological chapters, writer, filmmaker and main actress Eva Victor depicts a sexual assault and the effort it takes to find one’s way back from a traumatic state of shock. Eva Victor sensitively portrays the hard, long processes and the many surprising moments of progress as an indie “traumedy.” During a panic attack in a restaurant parking lot, a gruff guy turns out to be an unexpectedly empathetic listener, and a visit to court becomes a key scene of self-acceptance. The friendship with Lydie is warm, funny, and comforting and central for Agnes to find the space in order to heal. Space that enables intimacy that she barely feels anymore - besides when she showers her cat Olga with affection.

Eva Victor skillfully balances the comedy of unease as Agnes in her feature film debut. You can’t avoid comparing it to Phoebe Waller-Bridges’ “Fleabag” or Greta Gerwig. Even though some supporting characters only come across as serving a purpose – a particularly unempathetic doctor, an envious colleague – SORRY, BABY is an eloquent and moving portrait of a friendship and a healing.

Clarissa Lempp (INDIEKINO MAGAZIN)

Translation: Elinor Lewy