When Agnes disappears from the center of her own life, the world around her tries its best to keep going as if nothing has changed. Family members, neighbors, and coworkers slip back into routines and polite conversations, their mornings and commutes unchanged, even as the absence of one person turns ordinary moments into small, sharp reminders. The film tracks these private contradictions with quiet, painstaking detail, showing how grief and avoidance can coexist in the same room.
What unfolds is a portrait of collective denial and fragile tenderness: some characters confront what happened, others bury it under chores and obligations, and a few slowly begin to reckon with the gaps left behind. With a restrained, observant eye, Sorry, Baby (2025) examines responsibility, memory, and the ways people stitch their lives together after a rupture, leaving the audience to feel the weight of what isn’t spoken and to consider how we make room — or don’t — for the ones who are gone.