A Short History of Indigenous Representation, Today’s Content + Creators, and A Vision For The Future
“Stories are considered of paramount importance to many Native communities – it is a true testament to the difficulty of “breaking in” that there are not more Native American people working in the entertainment industry.” —
Maya Rose Dittloff, author, Untold Stories: Indigenous Creators In The United States
To accompany this report, the following lists have been compiled and hosted on FREE THE WORK’s website, to be supplemented by submissions moving forward on an ongoing basis:
- In The Know: Film & TV Content compiles a snapshot of projects released since 1990 and/or currently underway in the industry as of 2022.
- In The Know: Creators & Filmmakers provides a look at Native creators active in the entertainment industry from 1990 to the present day.
- In The Know: Entertainment Landscape surveys some of the organizations that contribute to the industry ecosystem for Indigenous creative voices.


In The Know: Film & TV Content
This list is a snapshot of people and projects active in the industry since 1990 and/or currently operating in the industry as of 2022. The list does not include projects created for educational use. While a fully comprehensive directory would be an extremely difficult undertaking, we aim for this to serve as an introduction for those interested in becoming acquainted with the current state of Indigenous-led entertainment content. The names and projects compiled here represent a significant portion of the material released during the time-frame considered, over which Native people had creative control.
- Episodic series sold / set up and publicly announced:
- Reservation Dogs (FX) 2021
- Rutherford Falls (NBC) 2021
- Adaptation of FIREKEEPER’S DAUGHTER (announced at Netflix with Higher Ground Productions) 2022
- Dark Horse (announced at ABC) In Development
- SCALPED (dead) 2017
- Yellow Bird (Paramount +) In Development
- Notable Documentaries
- Warrior Women (dir. Elizabeth Castle and Christina D. King) 2018
- Miss Navajo (dir. Billy Luther) 2007
- Out of State (dir. Ciara Lacy) 2017
- This May be the Last Time (dir. Sterlin Harjo) 2014
- Barking Water (dir. Sterlin Harjo) 2009
- Awake, A Dream from Standing Rock (dir. Myron Dewey) 2017
- Daughter of a Lost Bird (dir. Brooke Swaney Pepion, IMDb) 2022
- Words from a Bear (dir. Jeffrey Palmer) 2019
- Documentary shorts
- Welcome to Gwichyaa Zhee (dir. Len Necefer and Greg Balkin) 2019
- This is the Way we Rise (dir. Ciara Lacy) 2021
- Grab (dir. Billy Luther) 2011
- The Violence of a Civilization without Secrets (dir. Adam Khalil (FTW), Zack Khalil and Jackson Polys) 2018
- Fainting Spells (dir. Sky Hopinka) 2018
- Fiction Films
- Mekko (dir. Sterlin Harjo) 2015
- Four Sheets to the Wind (dir. Sterlin Harjo) 2007
- Smoke Signals (dir. Chris Eyre) 1998
- Skins (dir. Chris Eyre) 2002
- Edge of America (dir. Chris Eyre) 2003
- Wild Indian (dir. Lyle Mitchell Corbine Jr.) 2021
- Waikiki (dir. Christopher Kahunahana) 2020
- Drunktown’s Finest (dir. Sydney Freeland [FTW]) 2014
- Deirdre and Laney Rob a Train (dir. Sydney Freeland [FTW]) 2017
- Water Like Fire (dir. Mitchell Viernes) 2020
- Narrative Shorts
- Kapaemahu (dir. Hinaleimoana Wong-Kalu) 2020
- Little Chief (dir. Erica Tremblay) 2020
- Mud (dir. Shandiin Tome) 2018
- Shimasani (dir. Blackhorse Lowe) 2009
- Sikumi (On the Ice) (dir. Andrew Okpeaha Maclean) 2008
- Other People (dir. Bryson Chun) 2018
- Lahaina Noon (dir. Christopher Kahunahana) 2014
- The Moon and the Night (dir. Erin Lau) 2018
- The Pit Where We Were Born (dir. Alexander Bocchieri) 2020
- Kalewa (dir. Mitchel Viernes) 2018
- Moloka’i Bound (dir. Alika Maikau) 2019
- Stones (dir. Ty Sanga) 2009
- Down on the Sidewalk in Waikiki (dir. Justyn Ah Chong) 2019
- Dogwood (dir. Maya Rose Dittloff [FTW]) 2021
- Manna (dir. Daniel Edward Hyde) 2017
- Halpate (dir. Adam Piron and Adam Khalil (FTW) 2021
- Sweetheart Dancers (dir. Ben-Alex Dupris) 2019
In The Know: Creators & Filmmakers
Despite obstacles, there are Native creators who have firmly established themselves within the entertainment industry of the present day. The below lists are not exhaustive, but represent hours of intensive research, questioning, and compiling.
This list will be a living document and will be updated over time. If you would like to submit an addition to this list, click here to complete a submission form. All entries will be reviewed prior to addition.
While FREE THE WORK generally believes in the value of identity self-determination, we recognize that false or unverified claims of Indigenous heritage have historically caused harm within Native communities. For more discussion on this topic, visit pg. 11 of the Untold Stories: Indigenous Creators In The US report. We encourage careful consideration, especially within all hiring contexts, and recommend cross-referencing with the Cherokee Nation Film Office’s directory of Native crew, for additional identity verification.
Click here to register for the Cherokee Nation Film Office directory.
Established creators:
- Directors/Screenwriters
- WGA writers:
- Azie Dungey
- Kelly Lynne D’Angelo
- Migizi Pensoneau
- Christina M. Walker
- Jason Gavin
- Lucas Brown Eyes
- Marilyn Thomas
- Anthony Florez
- P. Carter Kristensen
- Tazbah Rose Chavez
- Tai Leclaire
- Jonathan Roessler
- Carlee Malemute
- Jana Schmieding
- Bobby D. Wilson
- Micah Ian War Dog Wright
- William Jehu Garroutte
- John Timothy
- Billy Luther
- Tommy Pico
- Brian Westcott
- Laura Nava
- Razelle Benally
- Maya Rose Dittloff [FTW]
- Erica Tremblay
- Wenonah Wilms
- Derek Asaff (distantly)
- *WGA List courtesy of the organization efforts of Marilyn Thomas
There is also definite hope for the future, as many emerging artists are beginning to experience recognition for their talents. For the purposes of this document, the term “emerging” directors/screenwriters will be defined as:
- Creators who have either:
- Directed an example of produced short form content (short film, music video)
- Have written an available professional sample (for TV or feature)
- But have not yet had experience working in longform content (feature films, television, major advertisement).
Emerging Directors/Screenwriters:
- Alika Maikau
- Alexandra Lazarowich
- Pamela Peters
- Adam Piron
- Tom Hanada
- Andrew Okpeaha Maclean
- Fox Maxy
- Shaandiin Tome (FTW)
- Bryson Chun
- Alexander Bocchieri
- Blake Pickens
- Stacey Parshall Jensen
- Siena East
- Charley Flyte
- Davis Kop
- Dawn Wolf Socha
- Khadijah Iman
- Willi White
- Ivy MacDonald
- Ivan MacDonald
- Miciana Alise
- Daniel Hyde
- Christopher Nataanii Cegielski
- Keanu Jones
- Adam Khalil (FTW)
- Zack Khalil
- Kathryn Machi
- *Pre-WGA List courtesy the organization efforts of Marilyn Thomas.
- Cinematographers
- Below-the-line Creators
In The Know: Entertainment Landscape
The following list aims to compile a small selection of organizations of note in the entertainment sector, as an introduction. These include either Native-led organizations to further increase Indigenous involvement in film and television production in the United States or state-sponsored film programs that have additional incentives to draw production dollars to reservations or to employ Native peoples.
- Cherokee Nation Film Office
- Montana Film Office
- As a part of a newly enacted tax credit (MEDIA Act), productions are eligible to receive up to 5% of expenditures back when filming in an “underserved county” which includes all reservations.
- New Mexico Film Office
- When filming in New Mexico, there are two incentives that could help employ Native filmmakers and technicians.
- Film Crew Advancement Program (FCAP) pays for 50% of wages for two FCAP mentees (they must be matched with a mentor).
- Productions can get 5% for filming or completing post-production in the “Uplift Zone” – which is defined as areas more than 60 miles outside of Santa Fe or Bernalillo counties.
- When filming in New Mexico, there are two incentives that could help employ Native filmmakers and technicians.
- US-Based Programs for Indigenous Filmmakers
- US-Based Festivals for Indigenous Filmmakers
- Educational Programs
- Dedicated to educating Native American students and creators, the Institute of American Indian Arts is the only tribal college that offers a dedicated major in Cinematic Arts and Technology. Located in New Mexico, the purpose and intent is to create skilled professionals for the burgeoning film industry in the state.
- Many tribal colleges do offer a course on film history or even film creation, but on most reservations there is little to no further opportunity to gain an education of film creation or history.

