Metacritic reviews

Sorry, Baby is funny, sad, thoughtful, and specific, a keenly observed portrait of a woman blown off course by a traumatic incident.

While Victor’s film might be rooted specifically in Agnes’ story and the bad thing at its center, in its specificity, there’s still tremendous room for wider recognition and and revelation.

The most remarkable aspect of Victor’s accomplishment with Sorry, Baby isn’t her wry sense of humor and deft observations about the inherent awkwardness of human social interactions (although it consistently pops). Instead, it’s how she emphasizes the seriousness of the events while staying true to Agnes’ unique personality.

A directorial debut of unfiltered frankness in both its tragedy and comedy, Sorry, Baby is a singular feat of storytelling.

Whatever the movie lacks in surprise or sophistication, it makes up for in sly comic verve and a soulfulness that sticks with you.

Delicately segueing from deadpan humour to delicate poignancy, Sorry, Baby is guided by the filmmaker’s graceful lead performance, which captures the guilt, anger and sadness of a woman who once seemingly had a bright future — until, suddenly, everything changed.

A breakout (produced by Barry Jenkins) that heralds Victor as an idiosyncratic and exciting new American artist.

It’s a film that almost entirely takes place in a handful of locations, but it feels vast in scope as the first-time filmmaker taps into deep existential questions about how you carry on after experiencing cruelty that nobody seems to care about.

If Sorry, Baby works, it’s because Victor strikes such a tricky tone: Her debut is warm and compassionate, advancing a conversation for which we’re still trying to find the words.

Sharply written, smartly structured and well-acted, with a star-making turn from Victor herself, the 93-minute black comedy is not only nimble and consistently funny, but one of the best, most honest renderings of life after sexual assault that I’ve seen.