As a deadly epidemic spreads across the 1860s Northwest Coast, an outcast young woman armed with a sacred Soul Catcher crosses a world tearing itself apart—hunted by the most powerful chieftainess on the coast: her mother.
A Spanish schooner anchors off a pristine Northwest Coast shoreline. Totem poles line the beach. War canoes rise and fall in the tide. There, a chieftainess gives birth — and throws her baby from a cliff.
That child is Neshekai.
Saved by the Wild Woman of the Woods, Neshekai grows up on the fringe of her world: no clan, no crest, no place to belong. Armed with a Soul Catcher — an ancient shamanic relic used to find lost souls and bring them home — she carries a power she barely understands.
When a ceremony goes wrong and a chief's son dies, Neshekai is blamed and cast out. On the run, she meets a rogue shaman who warns her: someone is trapping souls, spreading sickness, and threatening to erase their people forever. To stop it, she must find the White Eagle — the medicine that could save them all.
Her journey takes her through frontier towns, haunted forests, and a world unraveling under disease and betrayal. The truth behind the sickness leads back to the mother who cast her out.
Now Neshekai must choose — bring the medicine home, or become the thing hunting her.
In the tonal space of The Revenant and Killers of the Flower Moon, Wild Woman of the Woods is a mythic historical epic from the 19th-century Northwest Coast.

Cast out at birth. Raised on the margins. Forced to fight.
Neshekai is the girl no one claimed — and the woman no one can stop. Fierce, reckless, and dangerous when cornered, she will cross the coast, the wild, and the edge of empire to save the people she loves.
She was never given a place in the world. She means to take one.
An ancient shamanic relic, carved from bone and inlaid with abalone — used to find lost souls and bring them home. Or set them free. Neshekai carries one before she fully understands its power.
Tobi Iverson is a Tsimshian, Nisga'a screenwriter and cultural producer descended from Arthur Wellington Clah — the only known Indigenous diarist of the 1862 smallpox epidemic.
Clah wrote in hard-won English for fifty years, repeating one vow across journal after journal:
Wild Woman of the Woods is her answer to that call.
Recognized in six countries within its first year.
This story is being told. You found it early.
"This is the kind of voice-driven epic people say they want and rarely get."
Santa Barbara Screenplay Awards · Senior Judge
"A world few films have dared to depict with such cultural reverence and poetic imagination."
Santa Barbara Screenplay Awards · Analyst R. Jackson
"A landmark film: poetic, political, and unforgettable."
PAGE International Screenwriting Awards · Judge ML
Iverson writes from inside a living culture — one she has inherited, studied, and witnessed firsthand. Her work is shaped by the art, ceremony, and people still carrying this world forward. She writes what she sees, so others can feel its power.