Sorry, Baby · Infofilm

Idiomes

English

Països d'origen

United States of AmericaFranceSpain

Productores

PASTEL

Big Beach

Tango Entertainment

High Frequency Entertainment Case Study Films

Charades

AF Films

Estatus

Released

Títol original

Sorry, Baby

Llengua original

EN

Pressupost

$1.5 M

Ingressos

$2.3 M

Popularitat

10

IMDb

tt32843349

Enllaços externs

Wikidata Facebook Instagram Twitter

Dates d'estrena

IT

15 de gen. 2026

Tipus 3

IL

31 de des. 2025

Tipus 4

EE

26 de des. 2025

Tipus 3

AT

18 de des. 2025

Tipus 3

DE

18 de des. 2025

12

Children 12 or older admitted, children between 6 and 11 only when accompanied by parent or a legal guardian.

Tipus 3

TR

12 de des. 2025

Tipus 3

BR

11 de des. 2025

14

Not recommended for minors under fourteen. More violent material, stronger sex references and/or nudity.

Tipus 3

MX

27 de nov. 2025

B-15

Information-only rating: Not recommended for children under 15.

Tipus 3

SE

14 de nov. 2025

11

Children over the age of 7, who are accompanied by an adult, are admitted to films that have been passed for children from the age of 11.

Tipus 3

EE

12 de nov. 2025

Tipus 1

Repartiment destacat

Agnes

Lydie

Preston Decker

Natasha

Gavin

Pete

Eleanor Winston

Fran

Devin

Logan

Professor Wilkinson

The Man She Thought Was Decker

Equip tècnic

Producer

Writer

Stunt Coordinator

Director

Producer

Producer

Executive Producer

Executive Producer

Executive Producer

Executive Producer

Executive Producer

Executive Producer

Crítiques

Brent Marchant ★ 6.0

31 d'ag. 2025

When we experience a traumatic tragedy, we often can’t fathom how we’re going to respond to it. Some reactions may follow expected patterns. But others may come across as wholly unpredictable, in large part because we don’t quite know what to make of them ourselves. That can become considerably more complicated when we don’t even know how to speak about them, to find the words to sufficiently expr...

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CinemaSerf ★ 6.0

31 d'ag. 2025

There is something especially individual about the lead characterisation here, and even though Eve Victor delivers strongly, I just didn’t really engage with it. We conclude fairly swiftly that her “Agnes” has suffered some trauma in her life and that now, in her late twenties, she has taken up a professorial job in a small rural community where she seems content to live en seul. Except, that is,...

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