Content warning: This article contains mentions of sexual assault.
We’re two months away from the 2026 Academy Awards, and the best picture and best original screenplay categories already have their frontrunners in “One Battle After Another” and “Sinners” respectively. These two films rightfully deserve their flowers, the former a thematically rich action film and the latter a horror film that has found unlikely appreciation from fans and critics alike. But their mass of attention has ultimately overshadowed one of the most beautifully vulnerable and quietly funny films of 2025.
“Sorry, Baby” is written and directed by Eva Victor, who also stars as Agnes, a professor at a small New England liberal arts school grappling with depression and trauma. The film opens in the present as Agnes’ best friend Lydie (Naomi Ackie) visits her and quickly grows concerned over Agnes’ mental state. They allude to a “bad thing” that happened to Agnes, but never verbally confirm what they’re referring to. Then, the film flashes back to when Agnes was a graduate student, slowly revealing that she was sexually assaulted by her thesis advisor Preston Decker (Louis Cancelmi).
The film’s approach to Agnes’ sexual assault and subsequent depression is both thoughtful and singular. Rather than explicitly showing the assault itself, which can often teeter into glamorization if not handled carefully, Victor makes a more tasteful choice. Audiences see Agnes enter Decker’s house for an advising meeting when it’s still light outside. Then, through multiple jump cuts, the sun sets and Agnes is still inside. This choice elicits a stomach-drop feeling without causing unnecessary distress to viewers. Additionally, by omitting specific or prescriptive visuals in this moment, the film subtly emphasizes that sexual assault does not have only one look or feel.
While unsurprisingly left out of the best picture lineup — given that it’s a small, independent film going up against blockbusters and big names — “Sorry, Baby” at least deserved a nomination for best original screenplay. Victor’s ability to seamlessly shift tones is masterful. Although the script grapples with difficult topics, it never bogs you down or manipulates you into feeling sad. This is largely because Victor utilizes her comedy background to balance the script out, adding in moments of her classic dry humor that longtime fans will recognize from her Comedy Central days. One minute Agnes will be sitting in her car having a panic attack, and the next she’ll be sitting on the pavement blandly discussing sandwich ingredients with the owner of the nearby shop. While simple on paper, these smooth transitions allow for a naturalistic feel that lends itself to the film’s poignant emotional quality.
While Victor rightfully earned a nomination for best actress in a drama at the Golden Globes, “Sorry, Baby” being completely disregarded by the Academy Awards feels unjust. The film is by no means showy, but shines in its straightforward yet effective storytelling. Agnes may not be a former revolutionary played by Leonardo DiCaprio, but she doesn’t need to be. By telling a story about someone working through trauma while handling their daily life — whether that be avoiding her annoying coworkers or seeing her situationship — Victor has created a universal piece.
Victor was unfortunately snubbed from this year’s Academy Awards, but an Oscar is inevitably in their future. Their knack for intimate storytelling and undeniable humor will take them far. With a directorial debut film as promising as “Sorry, Baby,” Victor’s talents will surely garner the recognition they deserve in the years to come.
Contact Skylar Boilard at [email protected].