Kiowa chief's daughter Dawn loves warrior White Eagle, but father pressures for powerful suitor.

Unlike Hollywood productions of the era, Daughter of Dawn (1920) featured an entirely Native American cast, filmed "in Indian Country" with the participation of over 300 Comanche and Kiowa people. The film incorporated their own clothing, tipis, and cultural items, creating a rare authentic portrayal largely absent from mainstream cinema.

This focus on authenticity extended beyond casting. Director Norbert A. Myles reportedly drew inspiration from tribal legends, creating a narrative that wasn't simply a rehash of tired Western tropes. While the basic plot of a love triangle and tribal conflict might seem familiar, Daughter of Dawn offered a glimpse into a rarely seen world, challenging audiences' expectations of the genre.

Furthermore, the film's rediscovery and restoration in 2005 brought to light a time capsule of early filmmaking techniques. The silent format, use of natural landscapes, and focus on cultural representation echo the experimentation happening within the avant-garde film movements of the 1920s.

Though not overtly categorized as experimental in its day, Daughter of Dawn's unique production, casting, and narrative elements position it as a fascinating example of cinematic exploration alongside the early avant-garde movements.