Sorry, Baby

Tropic Sprockets by Ian Brockway

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Director Eva Victor has a pensive debut hit with “Sorry, Baby,” a character study set in the insulated world of academic literature.

The charm of this film is not immediately apparent, but through its illustration of minute episodes, what unfolds becomes a complex analysis of friendship between two women. By employing sarcasm, verve and deadpan attitudes what emerges is a detailed portrait reminiscent of John Cassavetes.

Agnes (Eva Victor) is a young literature professor awaiting a visit from her best friend Lydie (Naomi Ackie). Agnes is the more somber of the two. Through a series of episodes, Agnes reveals that she has a crush on the apparently sensitive academic advisor Decker (Louis Cancelmi). But when Decker asks to see her thesis, his encouraging manner disguises sinister intention.

Agnes is assaulted. It becomes evident that the only constant in Agnes’s life is Lydie.

This is a finely detailed study that allows the drama to unfold organically through emotion and feelings rather than action. The camera is often stationary in the manner of a stage play. Director Victor allows the characters to speak of their wishes, their fears and their sadnesses.

The film is a refreshing return to the singularly focused and naturalistic art films of the 1970s. Through every turn, Agnes remains unfazed. She is matter of fact, sarcastic and quirky but always true unto herself. What could have been a depressive film in other hands, is a testament to life’s existential magic here.

Write Ian at ianfree11@yahoo.com