Entirely fictional protagonist. While a real missionary named John Dunbar worked with the Pawnee earlier in the 19th century, there is no connection to the film's character or story.

Fictional character, although her backstory was inspired by the real historical figure Cynthia Ann Parker, a white woman captured as a child and raised by the Comanche (not Lakota Sioux).

A fictional character representing a spiritual leader and wise elder within the Lakota band.

A fictional character representing the warrior element of Lakota society, initially distrustful but later respectful of Dunbar.

A fictional character representing tribal leadership. A historical Comanche chief shared the name, but the film character is Lakota and fictionalized.

Fictional character providing transportation and exposition early in the film.

Dunbar and his specific posting are fictional. Fort Sedgwick was real (in CO/NE area) but established slightly later (1864); its depiction as abandoned reflects plausible issues but is part of the fictional setup.

While the specific story is fictional, the film portrays a process of cross-cultural communication and understanding with sensitivity, considered groundbreaking for its time.

Generally praised for its attempt at authentic portrayal of Lakota daily life, social structure, spirituality, council meetings, and reliance on the buffalo, developed with Lakota consultants.

Extensive use of subtitled Lakota was revolutionary. However, linguists noted inaccuracies, primarily the failure to use gendered language forms, making male characters sound female to native speakers.

Accurately portrays the central importance of the buffalo hunt to Plains tribes' survival and culture, depicting it as a communal effort. (Used a large managed herd and animatronics).

The scene depicting buffalo carcasses left to rot after being skinned by white hunters accurately reflects the historical mass slaughter that decimated the herds and Plains Indian life.

The Lakota and Pawnee were historical enemies and frequently raided each other. The film accurately depicts this intertribal conflict, though primarily from the Lakota perspective.

Dunbar's complete assimilation and choice to abandon his former life is part of his fictional character arc.

Accurately reflects the likely historical reality that a soldier abandoning his post and siding with Native Americans would be viewed as a deserter or traitor by the U.S. military.

The specific reason for Dunbar's departure at the film's end is part of his fictional narrative.

The opening Civil War scene establishing Dunbar's character and transfer request is fictional.

Filmed on location in South Dakota and Wyoming, the movie beautifully captures the vast, open prairie landscapes central to the story and Plains Native life.

Tipis, village layout, and depiction of daily life within the camp appear authentic and were developed with input from Lakota cultural advisors.

The depiction of the isolated, rudimentary, and ultimately abandoned fort reflects the often precarious nature of military outposts on the mid-19th century frontier.

Generally praised for accuracy in depicting Lakota attire (buckskins, beadwork, specific items like Stands With A Fist's elk-tooth dress) and Union Army uniforms of the 1860s.

Firearms (Union rifles, revolvers) and Native weaponry (bows, lances, shields) shown are appropriate for the Civil War era on the Plains.

Integrates key plains wildlife central to the ecosystem and Native culture, emphasizing the connection between the people and the natural world.

Successfully conveys both the potential for understanding between cultures and the looming threat of conflict and displacement due to westward expansion.

Despite fictional elements, the film is lauded for its immersive and largely authentic recreation of the look and feel of the American frontier during the Civil War era.