Francesca Sofia Allegra is a London-based film editor and edit consultant working internationally across independent cinema, documentary, and film promotion, with over 15 years of experience. She is a member of the European Film Academy, Berlinale Talents alum, and part of BAFTA Connect, British Film Editors, and Women in Film & TV.
With a background in Film Criticism and Communication (BA and MA), Francesca brings a deep knowledge of film history and cinematic language to her editorial practice. She began her career on set as a first assistant director before discovering editing as the core of cinematic authorship—the space where films are shaped, rewritten, and ultimately defined.
Her work is rooted in documentary and trailers, where editors carry strong narrative responsibility. She has collaborated with leading industry professionals on high-profile documentary series such as SanPa (Netflix) and Veleno (Prime Video), while maintaining a strong focus on independent, festival-driven projects with ethical and human-centered narratives.
Her documentary work includes The Walls of Bergamo by Stefano Savona, presented in competition at the 73rd Berlinale, and Here I Am by Marc J. Francis, a life-affirming exploration of love, grief, and creativity.
Alongside documentary and long-form work, Francesca Sofia has extensive experience in trailers and promotional storytelling, collaborating closely with directors such as Gabriele Muccino and Paolo Genovese. These collaborations have strengthened her understanding of cinematic grammar, rhythm, and audience engagement within the editing room.
She is also the Artistic Director of Trailers FilmFest, the only international festival entirely dedicated to film promotion, where she actively supports emerging talents and explores the evolving language of audiovisual marketing.
Francesca Sofia collaborates with directors and producers on impactful, festival-oriented projects, shaping narratives with a strong ethical approach. She follows stories wherever they lead, working internationally and embracing travel as an essential part of her practice.
While her experience is grounded in documentary and trailers, she is keen to collaborate on scripted films as a natural extension of an editorial practice shaped by unscripted cinema—where structure, character, and meaning are actively built rather than followed.