Sophia Dunn-Walker’s creative world hums with contrast — elegance laced with rebellion, discipline infused with punk energy. A director, producer, and actor, Dunn-Walker’s work traverses film, music, and visual art with a boldness that feels both intellectual and deeply instinctive. Behind the camera, she directed “Philomele” (2019) and is currently developing a sci-fi opera among an array of boundary-pushing projects. Before filmmaking, she fronted the French punk bands Litige and Avenir Aveugle, experiences that continue to inform her uncompromising artistic voice.
On screen, Dunn-Walker’s credits include “Before the World Set on Fire” (2023), “Haunting of the Queen Mary” (2023), “Dogbite” (2025), and the long-running “Bold and the Beautiful.” Off screen, she co-runs a production company dedicated to championing stories about people with disabilities — a mission rooted in both personal experience and an unwavering commitment to representation.
In this conversation, Dunn-Walker discusses her multifaceted practice: from co-producing Riley Hooper’s long-gestating documentary “Vestibule” to developing a feminist French-language feature, exploring the complexities of disability and family, and embracing the creative risk-taking that defined her early punk years. What emerges is a portrait of an artist unafraid to confront discomfort — and to transform it into something transcendent.
I’m really excited to talk to you about your projects. I thought we could start with “Vestibule.”. How did you get involved with that project, and what drew you to Riley Hooper?
Riley’s the director. Our company co-produced “Vestibule.” My brother and I co-own a production company focused on championing stories about people with disabilities. Riley and I connected through mutual contacts; she reached out because she saw that we focus on disability stories. I’m especially interested in women and how the female body is treated and represented, so I’ve always admired her work. She’s been making this documentary for nine years — it’s a true labor of love. We came in later, helping her find investors and contributing creatively, but it’s really her baby.
That’s amazing. I wasn’t able to see the full film yet, but I watched the teaser and read about it — I’m excited to dive in after this interview. You mentioned starting your production company. What draws you to certain projects beyond your company’s focus?
A lot of it comes from my own experience. I have a degenerative vision condition — loss of color perception and acuity — and I grew up balancing both special education and advanced classes. That gave me insight into how people with disabilities are treated, and how broad the spectrum of disability really is. You want to be accommodated without being infantilized. My brother’s autistic, and we’re actually making a documentary (“Boy Who Talks To Flowers”) about autism right now.
I saw some rough cuts of that — it’s a powerful concept.
Thank you. It’s still in a rough stage, but the people we’ve interviewed are brilliant. Autism is such a broad spectrum — from nonverbal individuals who need full-time care to people who are highly analytical or “hyperfunctional.” It’s not about superiority; it’s about understanding a wide range of needs. It’s actually become a surprisingly polarizing topic again recently, which I didn’t expect when we started.
And congratulations on your Sundance Documentary Fund grant! Was that for the autism project?
Thank you! That one was for “Vestibule”. We received a separate grant for the autism documentary, but not through Sundance.
Got it. Can you talk a little about the feminist project you mentioned?
It’s still very much in progress, so it’s hard to talk about. A few years ago, I had about $75,000 saved and decided to just start making my first feature. It’s all in French, and we shot some footage in Paris — really beautiful material. But for the scope of the story, we’ll need at least ten times that budget. We’ll still use the existing footage; it tracks the same characters over three years, exploring trauma and how it’s passed through families.
The process has been intense — lots of improvisation and rehearsals over Zoom. But the actors have really grown into their characters, and I love that. I’m drawn to slow, emotional storytelling and deep creative processes — that’s what I loved about Vestibule too.
You’ve had a really diverse artistic background — from punk music in France to a sci-fi opera. How do those early experiences influence your filmmaking?
I think they made me ambitious in my ideas. Sometimes they work; sometimes they don’t! But they taught me to take risks. Being in a punk band helped me embrace not caring what people think — which is hard, especially for women who are constantly told to doubt themselves. I’m trying to reconnect with that fearless, adolescent part of myself that just made things.
I completely relate to that. At Cinema Femme, I also think about balancing authentic creative work with practical realities — funding, audience, visibility. But at the heart of it, it’s about elevating artists and their process. Can you talk about some of your visual or narrative motifs — what drives your creative process?
I’m kind of obsessed with religious iconography. I grew up Catholic, and I find the relationship between women and the Church fascinating — that duality of reverence and repression. I love the imagery of stained glass, saints, betrayal, devotion. Even my early short films — the ones I made before I even knew festivals existed — had those themes.
Faith, or at least a connection to something higher, really drives me. It’s not about dogma; it’s about reaching for something beyond yourself.
That’s beautiful — and so authentic. What advice would you give to new artists, especially those who feel their differences might hold them back?
Honestly? Don’t even listen to advice — not even mine. Just take the deepest, weirdest idea you have and make it. Even if you have $5 and two friends — start there. The best art often comes from that first raw attempt, before you’ve learned all the “rules.” Those rules can make you timid. Just create for the sake of creation.
I love that. So what’s next for “Vestibule” and the autism documentary?
“Vestibule” is nearing its tenth year in production and aiming to premiere in 2027. I’m so honored to have been part of it. The autism documentary should finish filming by the end of this year and premiere in 2026. It’s such a broad topic, but I’m grounding it in my relationship with my brother. I’m not an expert on autism — but I can tell a story that’s personal and human.
Wonderful. Any collaborators you’d like to highlight?
Yes — my composer, Felix Roche. He’s classically trained but new to film composing. I was advised against working with someone without film experience, but his music is stunning. I trust my intuition on this one.
That’s exciting. Any other projects on the horizon?
I just hope all the work feels cohesive as an artistic vision. And someday, I’d love to finally make that sci-fi opera.
I actually interviewed Rachel Mason recently — she’s working on a sci-fi opera too. She directed “Circus of Books” and the new Halyna Hutchins documentary on Hulu.
Thank you so much for your time — this has been such a rich conversation. I’m so excited to follow you and your career.
