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Sorry, Baby
Movie

Sorry, Baby

2025 • Unknown

Woke Score
4
out of 10

Plot

Agnes feels stuck. Unlike her best friend, Lydie, who’s moved to New York and is now expecting a baby, Agnes still lives in the New England house they once shared as graduate students, now working as a professor at her alma mater. A ‘bad thing’ happened to Agnes a few years ago and, since then, despite her best efforts, life hasn’t gotten back on track.

Overall Series Review

The film centers on Agnes, a professor at her New England alma mater, and her long-term struggle to cope with the aftermath of a sexual assault—the 'bad thing'—perpetrated by her male thesis adviser years earlier. The narrative is a post-#MeToo trauma story that focuses on the mundane reality of recovery rather than sensationalizing the event. A key part of the plot involves the contrast between Agnes's stagnation and her best friend Lydie's path of moving on, getting married, and expecting a baby. The movie critiques institutional responses to trauma, portraying the school and medical system as self-protective and unhelpful. The film is driven by a gender-based power critique, positioning the male academic as an abuser of his professional position, but it avoids reducing the female lead to a singular victim identity. The diverse casting of the two main female friends is a feature, but race is not the primary driver of the central conflict.

Categorical Breakdown

Identity Politics5/10

The plot's central conflict is a critique of the power dynamics within academia, specifically a male professor exploiting his female student, aligning with a focus on systemic power hierarchies. The casting features a supportive Black best friend, Lydie, to the White protagonist, Agnes, but the primary theme remains gender and power abuse, not intersectional race hierarchy or vilification of 'whiteness' as a whole. The film avoids totalizing the character's identity based on her trauma.

Oikophobia6/10

The New England academic setting, a Western institution, is shown as a flawed and self-protective entity when dealing with reports of assault. The critique is leveled against the specific failures of administration and the medical system to help the victim, which is a critique of corrupt systems within the culture, not a demonization of home, nation, or ancestors in a broad sense.

Feminism7/10

The narrative is fundamentally a post-#MeToo story centered on a woman's trauma and resilience, positioning male power and predation as the core problem. This strong focus on gender critique pushes the score high. However, the female lead is not a perfect 'Mary Sue,' and the story counterbalances Agnes's focus on her career and healing with Lydie's choice of marriage and motherhood, preventing a full 10/10 'anti-natalism' rating.

LGBTQ+1/10

The movie does not feature or center alternative sexualities, deconstruct the nuclear family, or engage in gender ideology lecturing. The supportive female friend character gets married and is pregnant, presenting a normative familial structure.

Anti-Theism1/10

There is no discernible presence of organized religion or faith, and therefore no hostility toward it. The core moral conflict—sexual assault—is treated as an objective wrong, grounding the film in a search for justice and healing rather than moral relativism.