Sophie Sartain is the co-director and producer of the Netflix original documentary Seeing Allred, which premiered at the Sundance Film Festival and was described as "remarkably engaging" (The New York Times) and "an ideal companion to the #MeToo Movement" (Variety). Sartain wrote, directed, produced and filmed the documentary Mimi and Dona, which aired on PBS/Independent Lens and was named one of the top-ten TV shows of the year by The New York Times. Her other credits include the 2014 documentary Above and Beyond (writer), winner of the audience award at more than 20 film festivals; the 2012 documentary Hava Nagila (The Movie) (writer/producer), the opening or closing night film at more than 40 film festivals; and the Emmy-nominated 2008 film Blessed Is the Match (writer/co-producer).

Sartain has contributed as a writer and story consultant on several film projects, including Vishniac (projected 2023), Reckonings (2022), Feminists: What Were They Thinking? (2018), Who Will Write Our History (2018), Hotel Everest (2017), Ishi's Return (2016), Rock in the Red Zone (2015) and In the Matter of Cha Jung Hee (2010). She is a member of the Academy of Motion Pictures Arts and Sciences and has been a film envoy with the American Film Showcase. She is a member-owner of New Day Films. She has served as a panelist for the National Endowment for the Humanities' America's Media Maker grants, and has written three successful NEH grants that were awarded more than $1 million in funding. She is also the recipient of grants from ITVS Open Call and the Fledgling Fund. 

Sartain's past positions include Executive Director of Editorial Services for MGM Home Entertainment and Managing Editor of Sony Online Entertainment. She is a Morehead-Cain scholar and graduate of the University of North Carolina-Chapel Hill with a masters in film from the Universtiy of Texas at Austin.

 

Films by Sophie Sartain

Mimi and Dona

A 92-year-old mother has cared 64 years for a daughter who has an intellectual disability. But now she must find her daughter a home in this powerful film that is “as unflinching as it is beautiful” (The New York Times).