Agnes is a young English professor who still lives in the New England house she shared with her graduate-school friend, Lydie. A few years earlier, Agnes was sexually assaulted by a professor who had been her adviser. Agnes keeps working, but fear, shame, anger, and depression leave her feeling stuck while Lydie moves to New York, marries, and prepares to have a baby. The movie jumps across several years and mixes dry jokes with quiet sadness as Agnes slowly finds small ways to live again.
The film gives a large place to female friendship, support for a survivor, and the idea that healing does not follow a straight path. Lydie later builds a family with a woman, while Agnes is shown as queer, rejects motherhood, and marks a place between male and female on a jury form. The story also shows a doctor, a college office, and the justice system failing to help Agnes after the assault. These identity and system themes are clear, but the movie mainly follows Agnes’s private pain, daily life, and bond with Lydie.
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Breakdown
These are the editorial factors and ratings behind our score for Sorry, Baby.
Woke representation / casting
Not present. The cast fits a modern New England setting, and the film does not frame its casting as a diversity campaign. Agnes and Lydie’s identities are part of the story, not evidence of an engineered cast mix.
0%
Woke political dialogue
Agnes and Lydie criticize a doctor who questions her after the assault. Agnes also discusses the college’s failed response and whether prison would help. These points are issue-based, but they do not become repeated speeches about current left-wing politics.
18%
Identity-driven story themes
The film makes sexual assault and its long aftermath the main conflict. It treats female friendship and care as central to healing. Lydie comes out as gay, marries a woman, and builds a family, while Agnes is shown as queer, rejects motherhood, and marks a place between male and female on a jury form. These identity elements recur, but the film is mainly about trauma and friendship.
48%
Western institutional / cultural critique
The film shows a doctor who responds coldly after Agnes reports the assault. The college’s process cannot punish the adviser after he leaves, and jury duty forces Agnes to question how justice works. These scenes present medicine, school rules, and courts as unable to protect her. The critique does not attack Christianity, conservatives, capitalism, or Western culture in general.
44%
Woke character or canon changes
Not relevant. The movie is an original story written by Eva Victor. It does not change an established character, canon, or historical figure.
0%
Anti-woke backlash and complaints
A single fringe user review labeled the movie woke and hostile to men. The complaint appears tied to the sexual-assault story and its criticism of male and institutional behavior. No boycott, review-bombing, organized anti-DEI campaign, or broader anti-woke reaction was found, and the supplied X pass found none.
3%
Creator track record context
Eva Victor’s public work and identity give the film a strong queer and gender-focused creator context. Producer Barry Jenkins has a long record of films about black and queer lives, while Adele Romanski and Lia Buman have backed identity-focused independent films. This background matches the film’s trauma, queer, and institutional themes.
78%
Production
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