Daughters of the Dust takes us back to 1902, exploring the lives of the Peazant family, a community of Gullah islanders residing at Ibo Landing on Dataw Island, just off the Georgia coast. The rich cultural tapestry of the islanders, stemming from their ancestors who arrived as enslaved individuals centuries earlier, is highlighted through their unique Gullah language—a vibrant creole enriched by influences from West Africa, the British Isles, and local traditions. This isolation on large plantations has allowed their language and cultural practices to flourish, surviving through generations.

The narrative unfolds through the voice of the Unborn Child, the future daughter of Eli and Eula, drawing from the stories of their ancestors. This poetic film employs striking visual imagery and a circular storytelling style to connect the past, present, and future of the Gullah people, who stand at the brink of a momentous journey to the mainland and an embrace of a more “civilized” lifestyle. As Nana Peazant, the family’s matriarch, performs her ancestral spiritual rituals, she poignantly reminds her family, “We are two people in one body. The last of the old and the first of the new.”

Amidst this rich tapestry, contrasting characters emerge: Viola, a devout Christian, and Yellow Mary, a free-spirited woman who arrives accompanied by her lover Trula from the city. Their visit is bittersweet, as Yellow Mary is set to leave for Nova Scotia shortly thereafter. Accompanying them is Mr. Snead, a photographer from the mainland, who captures the essence of the islanders as they prepare to leave their heritage behind. Tensions within the family rise as Eli grapples with the upcoming birth of Eula’s child, a consequence of her assault on the mainland—can he accept a child that may not be his?

The film weaves through various family narratives, including that of Haagar, who finds the island’s spiritual practices outdated and yearns for the modern opportunities beyond its shores. Her daughter, Iona, is caught between worlds, yearning for her secret lover, St. Julien Lastchild, a Cherokee resident of the island. The emotional tension peaks when St. Julien confesses his love in a letter, just as Iona is about to depart.

As the women prepare a traditional meal featuring okra, yams, and shellfish on the beach, the men indulge in games and banter nearby. Children engage in playful activities and religious practices, while Viola leads a Bible study session. The bonds between women strengthen, particularly as Yellow Mary and Eula reflect on their survival and resilience in the face of trauma. Bilal Muhammad, a cousin with ties to the Ibo culture, leads a heartfelt Muslim prayer, as Nana conjures the spirits of their ancestors. This blend of ritual and modernity—Nana’s ancestral invocations alongside Viola’s Bible—highlights the complexities of their histories.

As the Peazant family confronts the pivotal decisions of leaving their beloved island or staying true to their roots, emotions run high. Yellow Mary ultimately decides to remain with Eli and Eula. In a poignant moment, Iona leaps from the departing boat to join Lastchild, who arrives gallantly on horseback. Haagar struggles to hold onto her daughter while others in the family watch the bittersweet departure of most of the Peazants, marking the end of an era and the dawn of new beginnings.