‘A Call to Spy’: Gripping World War II thriller shines a light on brave women

‘A Call to Spy’ landed on Amazon Prime Video this week. (Supplied)
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Updated 15 December 2020
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‘A Call to Spy’: Gripping World War II thriller shines a light on brave women

CHENNAI: In her debut solo outing as a director, Lydia Dean Pilcher offers “A Call to Spy,” which landed on Amazon Prime Video this week and tells the story of three women who did their bit to secure victory for the Allies in World War II.

Based on real events, tragic and thrilling, Sarah Megan Thomas produces and scripts an amazing plot that held my unwavering attention for the whole two hours. Thomas also has the most solid role as Virginia Hall, an American with a prosthetic leg whose gutsy side is revealed as she is placed in Vichy France to help create mayhem in the enemy ranks. In one of the final scenes we see her painfully trekking through the snow-capped Alps — an escape she was loathe to undertake. But having been discovered by the Nazis and with her photographs pasted on every wall, she had no choice.

With a desperate Churchill facing the threat of German invasion across the English Channel from France, he enlists Vera Atkins (Stana Katic) to enroll women to gather intelligence as part of the war effort. She recruited many women, but “A Call to Spy” is about two of them — Noor Inayat Khan (Radhika Apte, an Amazon regular) apart from Hall. A British citizen of Indian origin, Khan, born in Moscow and raised in France, was the subject of a docudrama and a book. However, Apte has only a small amount of screen time in her latest outing, and she fails to make a mark, with Thomas and Katic clinching the meatiest parts. But Apte gets two unforgettable lines. Asked why she became a signal woman, Noor says: “I play the harp and the piano, and signalling is like music; there is rhythm in it . . . And this is my war. I am a British citizen. I grew up in France. It’s my home. I can’t let the Nazis do what they are doing.”

With Kim Jennings designing the sets, authentically recreating London on a set in Philadelphia and Lyon, and Paris on a set in Budapest, “A Call to Spy” is not just a splendid evocation of 1940s war-battered Europe, but also a homage to the women whose incredibly daring role in the resistance is what legends are made of.


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.