Sorry, Baby (soundtrack)
Score composed by Lia Ouyang Rusli for the 2025 film.
Sorry, Baby (Original Score) is the film score to the 2025 film Sorry, Baby directed by Eva Victor. The score was composed by Lia Ouyang Rusli and released through A24 Music on July 4, 2025.
Quick Facts
- Artist
- Lia Ouyang Rusli
- Released
- July 4, 2025
- Genre
- Film score
- Length
- 21:00
- Label
- A24 Music
Facts from the source article.
Track listing
| No. | Title | Length |
|---|---|---|
| 1 | The Year with the Baby | 1:48 |
| 2 | Agnes and Lydie | 0:51 |
| 3 | Across the Field | 1:00 |
| 4 | Flashback | 0:36 |
| 5 | An Empty Feeling | 1:00 |
| 6 | To the Lighthouse | 1:13 |
| 7 | The Year with the Bad Thing | 2:26 |
| 8 | We Are Women | 1:00 |
| 9 | The Next Morning | 0:50 |
| 10 | Cover the Window | 1:01 |
| 11 | The Year with the Good Sandwich | 0:52 |
| 12 | Being Gay and in Love | 2:10 |
| 13 | Gavin Will You Come F k Me | 0:43 |
| 14 | Bathtub | 0:46 |
| 15 | Sorry Baby (Piano) | 2:37 |
| 16 | Sorry Baby (Electronic) | 2:07 |
Track listing from the source article.
Development
Lia Ouyang Rusli composed the score for Sorry, Baby after director Eva Victor found that temp tracks could not provide a consistent sound for the film. Victor noted the opening shot of the house had horror film vibes, and some temp tracks sounded dark or flippant. After meeting Rusli, who curated a playlist of pop songs and instrumentals that inhabited the film's world, Victor felt Rusli understood the material from the inside. Rusli began composing a version of the opening music, which convinced Victor they could elevate the film. The score's tonal shifts helped ground the film and provide a consistent feel. Rusli composed choral bits that gave a warm and playful feel. The opening theme song had six versions. Rusli wrote the score in five to six weeks, describing the opening theme as perfect and hopeful, providing a magical experience for a horror-like shot.
Reception
Critics described Lia Ouyang Rusli's score for "Sorry, Baby" as lilting and occasionally whimsical, with a poignant piano that highlights Agnes as a bright but broken soul. It arrives just when needed, according to one review, and was called warmly melancholic by another. Others found it hopeful and organic, as well as atmospheric. The score's ambient expressiveness and quiet subtlety were praised for never over-extending, while its sparsely deployed, piano-driven nature offers only brief respites from the film's reality.
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