‘Sorry, Baby’ Review: Eva Victor Wrote, Directed and Stars in What’s Sure to Be One of the Year’s Most Talked About Debuts

variety.com:

Peter Debruge Chief Film Critic In “Sorry, Baby,” the defining moment of Agnes’ adult life happens off-camera, but it haunts nearly every other scene in the movie.

A standout of the U.S. dramatic competition at Sundance, Eva Victor’s disarming funny, slow-to-unfold debut is less a film about sexual assault than it is a serious look at the process of rebuilding after such an experience.

Sympathy merges with satire, and acceptance leads to questions (rather than the other way around), as Victor herself embodies a bright young woman who probably thought of herself as a dozen things — witty, independent, a sure-to-inspire future professor — but now must add “survivor” to that list.

A tall, willowy 20-something, Agnes is a brilliant literary mind who must rewrite everything, including her understanding of the word “brilliant,” after the professor (Louis Cancelmi) who’d freely offered such compliments makes a pass at her. “Do you think that’s why he’s telling me that I’m smart?” Agnes asks her lesbian roommate Lydie (Naomi Ackie), who impishly tells her to go for it.