Reclaiming Our Stories: The Rise Of Native American Representation In Hollywood Cinema

For decades, Native American characters in film were often relegated to the roles of sidekicks, villains, or the noble savage. But in recent years, the tide has turned. A new wave of films is challenging these old stereotypes and reshaping the way Indigenous people are represented in Hollywood. For centuries, Indigenous cultures and peoples have been lumped together, most often inaccurately, in media and stripped of their beautifully different complexities. For Indigenous people, this new correction in the media is important, as the narrative is shifting to a more empowering, culturally authentic, and historically accurate tale of what it truly means to be Indigenous. Movies like Prey (2022), Wind River (2017),  and Killers of the Flower Moon (2023) are paving the way for younger Indigenous people to see this representation and complexity in characters who look like them, whether the truth of the narrative makes everyone comfortable or not. That is why true Indigenous narratives in film are so important – they are bringing back a history and culture generations before tried so hard to get rid of and hide. 

Amber Midthunder in Prey 2022

When Amber Midthunder steps into the role of a fierce Comanche warrior in Prey, it’s not just an action-packed scene — it’s a moment that disrupts decades of cinematic history. Midthunder’s portrayal of Naru, the protagonist, as a complex and independent character contrasts sharply with the traditional and often reductive depictions of Native American characters in older films. For too long, Native American characters have been confined to the margins of Hollywood storytelling—reduced to stoic warriors, tragic figures, or symbols of the past. These portrayals rarely show the complexity, depth, or agency of Indigenous people, particularly Native women. Prey breaks this pattern by centering Naru, a character who is not only a warrior in the physical sense but also a figure of emotional and intellectual depth. Naru’s journey in Prey is one of survival, personal growth, and defiance against the limitations placed on her by society. Rather than being a passive figure or a mere sidekick, she is the film’s protagonist, asserting her strength and determination as a Comanche woman. Amber Midthunder’s portrayal of Naru brings an authenticity and depth to the character that elevates the entire film. She breathes life into Naru, making her feel like a real person, not just a symbol of the Indigenous struggle. Through her, the film provides a powerful example of how Indigenous women can be seen as complex heroes—warriors not only in battle but in their own journey for identity and belonging.

Prey 2022

Films like Wind River (2017) and Killers of the Flower Moon (2023) represent a significant shift in the representation of Indigenous characters in cinema, offering multilayered portrayals that move far beyond simplistic and stereotypical depictions. Instead, they offer a more humanizing and nuanced exploration of personal and societal struggles, allowing Indigenous characters to be fully realized individuals with depth and complexity. In doing so, both films challenge viewers to see Indigenous people not as symbols of the past or as passive subjects but as dynamic individuals navigating a world shaped by centuries of violence, systemic oppression, and cultural erasure. Wind River, directed by Taylor Sheridan, centers on a murder investigation on the Wind River Indian Reservation, focusing on the death of a young Indigenous woman. While the protagonist, Cory Lambert (Jeremy Renner), is not Native, the film carefully portrays the experiences of Indigenous people living on the reservation, particularly in relation to the Missing and Murdered Indigenous Women (MMIW) crisis. In doing so, Wind River does not just serve as just a thriller but as a reflection of deeper, systemic issues that often go overlooked in mainstream narratives. 

Wind River 2017

Killers of the Flower Moon, directed by Martin Scorsese, delves into the true story of the Osage Murders in 1920s Oklahoma, where members of the Osage Nation were systematically targeted and murdered by white settlers seeking to steal their wealth derived from oil found on their land. Unlike many earlier films, where Native American characters were often portrayed as passive victims of history, Killers of the Flower Moon allows Mollie Burkhart (Lily Gladstone) and other Osage characters to be fully humanized. Their grief, anger, and resilience are explored with depth and care, and their personal relationships are depicted as crucial to understanding the larger narrative of exploitation and injustice. Instead of relying on one-dimensional representations, Wind River and Killers of the Flower Moon focus on the complexity of their Indigenous characters, portraying them as individuals with their own dreams, struggles, and inner lives. These films do not merely highlight the historical or cultural elements of Indigenous life; they use these elements to tell rich, layered stories about survival, identity, and resilience in the face of overwhelming adversity.

Lily Gladstone in Killers of the Flower Moon 2023

Action-packed scenes and powerful storytelling can coexist with cultural respect — when done right. Modern films like Prey (2022) and Wind River (2017) exemplify a new approach to portraying Indigenous characters in action-driven narratives, blending thrilling action sequences with authentic cultural representation. These films demonstrate that action is not merely a spectacle or a means of entertainment but a powerful vehicle for character development and a way to deeply root the story in the cultural identities of the protagonists. The increasing awareness of the need for accuracy in the portrayal of Indigenous customs, languages, and traditions is an important development in modern filmmaking. Directors and writers are becoming more attuned to the significance of cultural representation, understanding that authenticity goes beyond merely dressing a character in traditional attire or including a few Indigenous words in the script. Filmmakers are now collaborating with Indigenous communities, cultural advisors, and language experts to ensure that their representations are not only accurate but also respectful.  In Prey, the filmmakers worked closely with Comanche language experts to ensure that the language was used correctly and naturally throughout the film. This commitment to accuracy not only enhances the authenticity of the storytelling but also provides an opportunity to revitalize and preserve Indigenous languages that have often been marginalized or lost. These efforts reflect a broader cultural shift in filmmaking, where Indigenous voices are not just represented but are integral to the story. By intertwining cultural authenticity with thrilling action, films like Prey and Wind River show that Indigenous characters can be both strong and complex, with their cultural heritage playing a central role in their development rather than serving as a mere backdrop for sensationalized violence or conflict. 

Killers of the Flower Moon 2023

The increasing emphasis on historical accuracy and cultural sensitivity in films depicting Native American history reflects a significant shift in how Indigenous stories are told on screen. Films like Killers of the Flower Moon (2023) demonstrate a more profound commitment to portraying the brutal realities of Native American experiences, especially concerning the systemic exploitation and violence that Indigenous communities have endured throughout history. This commitment to accuracy is evident in the film’s portrayal of the Osage people’s way of life, their cultural practices, and their experiences with both traditional Indigenous systems and the encroaching influence of settler colonialism. The film does not merely use Indigenous culture as a backdrop but allows it to shape the narrative, giving a nuanced understanding of how colonial violence intersects with Indigenous identity. The heightened sensitivity toward cultural accuracy in films like Killers of the Flower Moon signals a broader shift in the film industry, where filmmakers are now more accountable for the impact their portrayals have on Indigenous communities. These films are no longer just about telling a story of victimhood or tragedy but about exploring the complexity of Indigenous experiences with historical violence, survival, and cultural resilience.

Gil Birmingham in Wind River 2017

This new wave of Indigenous filmmakers, writers, and actors in creating and portraying Native American stories represents a critical shift in industry norms, reflecting a broader movement toward more authentic, nuanced, and respectful representation. Films like Killers of the Flower Moon (2023), Prey (2022), and others demonstrate how Indigenous perspectives are not only integral to telling more accurate and profound stories but are also shaping the future of how Native American communities are depicted in cinema. Historically, Hollywood has largely been dominated by non-Indigenous creators who have often portrayed Native American characters through a lens of stereotypes, distortion, or marginalization. With the rise of Indigenous filmmakers, writers, and actors taking control of their own stories, this dynamic is slowly but steadily changing. The significance of this shift lies not only in the accuracy of the stories being told but also in the empowerment of Indigenous communities to reclaim their narratives and voice their experiences without the filter of outside perspectives. As more Indigenous filmmakers rise to prominence, this shift in representation goes beyond merely changing the content of the stories. It is also about shifting the power dynamics in the film industry itself. Native filmmakers and actors now have the opportunity to create films that are true to their cultures, histories, and worldviews, ultimately changing the way the world sees Native American peoples and their rich, diverse cultures.

Lily Gladstone in Killers of the Flower Moon 2023

Testimony From a Native Movie Fan

In a world where representation matters, the films of today are proving that Native American stories are not only worth telling—they are crucial to understanding our shared history. For far too long, our stories have been overlooked or misrepresented, relegated to the margins of film and history books. Films like Prey, Wind River, and Killers of the Flower Moon are changing that narrative. This is more than just a shift in how Native characters are portrayed. This is a revolution in storytelling itself.  It is empowering Indigenous communities by offering us a chance to reclaim our voices. The power to produce films that are true to our cultures, traditions, experiences, and histories that my relatives and I have been denied for too long. We’re no longer relying on outsiders to tell our histories—we are telling them ourselves, on our terms. For mainstream audiences, this is an invitation to witness our strength, our pain, and our triumphs in a way that is honest and raw. These films don’t reduce us to victims of history; they show us as active participants, as survivors, as warriors in our own right. What’s at stake here is more than just entertainment. This shift in representation matters because it opens the door for future generations of Indigenous filmmakers, writers, and actors to take up space in an industry that has historically shut them out. It’s time for our stories to not just be heard but to be felt, to be understood. It is our time to take center stage because our histories, our cultures, and our experiences matter—more than ever.

The national flags of the Native nations from Wind River (2017), Prey (2022) and Killers of the Flower Moon (2023), top left Osage, bottom left Comanche, top right Northern Arapaho, bottom right Eastern Shoshone.