Honestly, the "nepo baby" conversation is exhausting. Usually, it's just a way to dismiss someone's hard work because they have a famous last name. But if you actually sit down and watch Sophie von Haselberg movies, you realize pretty quickly that she isn't just coasting on her mother Bette Midler's legendary status. She’s weird. She’s intense. And she’s choosing roles that are about as far from a "Hollywood starlet" template as you can get.
It took her a long time to get here. Growing up with a powerhouse like Midler and an avant-garde artist father, Martin von Haselberg, meant Sophie initially ran in the opposite direction. She studied sociology and East Asian studies at Yale. She worked in an ad agency in China. She tried to be "normal." But the acting bug is a persistent little parasite. Eventually, she went back to Yale for drama school and emerged as a performer who seems most at home in the fringes of indie cinema and high-concept television.
The Early Days: From Woody Allen to Wall Street
Most actors start with a commercial for dish soap. Sophie’s first professional gig? A Woody Allen movie.
In Irrational Man (2015), she played April, a student who gets caught up in the orbit of Joaquin Phoenix’s depressed philosophy professor. It wasn't a massive role, but it was a "quintessentially New York" start. It signaled that she wasn't looking for teen rom-coms; she was looking for prestige.
Then came Equity (2016). If you missed this one, go back and find it. It’s a financial thriller that actually focuses on women in the cutthroat world of investment banking. Sophie plays Marin, and while the film belongs to Anna Gunn, von Haselberg holds her own in a world of high-stakes IPOs and corporate backstabbing. It showed a grounded, professional side of her acting that contrasts sharply with the "madness" she would explore later.
When Things Got Weird: Give Me Pity!
If you really want to understand the vibe of Sophie von Haselberg movies, you have to talk about Give Me Pity! (2022). This film is a fever dream. Directed by Amanda Kramer, it’s a stylized, psychedelic horror-comedy where Sophie plays Sissy St. Claire, a performer having her first-ever televised special.
It’s a solo tour de force.
For nearly 90 minutes, she is the only person on screen. Sissy is desperate for love, terrified of failure, and slowly losing her mind under the studio lights. It’s vanity, insecurity, and disco outfits mashed together. Sophie has this "elasticity" to her face—she can go from a pageant-queen smile to a look of utter, soul-crushing terror in two seconds. It’s a performance that proved she has the stamina of a stage veteran.
Why the Indies Matter
She seems to prefer these off-beat projects. Look at Love Reconsidered (2024). She plays Ruby, a woman in her 30s who has failed at basically everything. It’s a "bonkers" romantic comedy, but it’s rooted in that very real, very awkward feeling of being a "late bloomer."
Then there’s Ask for Jane (2018), a historical drama about the underground network that provided safe abortions before Roe v. Wade. She plays Joyse, contributing to a gritty, ensemble-led piece of activism-on-film. She’s building a resume that looks like a curated gallery of interesting humans rather than a list of box-office hits.
The Television Pivot: AHS and Beyond
While we’re focusing on movies, you can't ignore how she uses the small screen to flex different muscles. Her guest spot in American Horror Story: Delicate (2023) as Mary I was a highlight. Playing "Bloody Mary" allowed her to lean into that regal-yet-unhinged energy she does so well.
She also popped up in:
- Pose: Playing Syd, a character in the world of 80s ball culture and AIDS activism.
- The Assassination of Gianni Versace: American Crime Story: Where she played a friend of Andrew Cunanan.
- House of Cards: As Tanya Benson, a role that gave her a taste of political thriller stakes.
Most recently, she finally shared the big screen with her mom in The Fabulous Four (2024). It was a cameo, but for fans of the Midler dynasty, it was a "finally" moment. They hadn't worked together like that before, mostly because Sophie spent so many years trying to carve out a path that didn't involve her mother's shadow.
What’s Next for Sophie?
As of 2026, Sophie is leaning harder into producing. She produced the short film YOYO, which premiered at Tribeca, and has several projects in development through her own creative lens. She’s also slated for By Design (2025/2026), another collaboration with Amanda Kramer, which suggests she’s found her "creative soulmate" in the world of avant-garde filmmaking.
There’s also buzz about a project called Fantasy Life, directed by Matthew Shear. It seems she’s sticking to the "weird and wonderful" lane, which is great for us as viewers.
Actionable Takeaways for Movie Buffs
If you’re looking to dive into her filmography, don’t just watch the hits. Do this instead:
- Watch "Give Me Pity!" first. It is the definitive Sophie von Haselberg performance. It will tell you everything you need to know about her range.
- Look for the "Amanda Kramer" connection. If you like Sophie’s energy, you’ll likely enjoy the other films from this director. They share a specific, surrealist aesthetic.
- Check out her indie shorts. Films like YOYO show her talent as a producer and her eye for storytelling beyond just being "the talent" in front of the camera.
- Keep an eye on the 2026 festival circuit. That’s where her most interesting work usually debuts before hitting streaming platforms like MUBI or Tubi.
Sophie von Haselberg isn't trying to be the next Bette Midler. She’s trying to be the first Sophie von Haselberg—a Yale-trained, indie-loving, risk-taking actor who would rather play a crumbling variety star than a generic lead. And honestly? That’s way more interesting.
To stay updated on her latest releases, track her upcoming credits on platforms like MUBI or keep an eye on the Sundance and Tribeca 2026 lineups.