The ramifications of Edie's mother's forced adoption ripples through Edie's life, like waves steadily pounding a beach, and finally leads to her confronting her mother about the "other Edith" in their lives -- and a shocking, heart-breaking revelation.
Edie knows her Dad is white, her mom is Native American and was adopted by a white family, but that's it -- her mom never elucidates on what tribe she is or where she's from. It hasn't bothered Edie until two friends spark an exploratory trip to the attic and they find a box of mementos.
One friend recommends Edie talk to her mother, but the other friend, the one who doesn't really have Edie's best interests at heart, encourages her to get to the bottom of it on her own.
The girls are working on a short film, and Edie wants it to be about a dog she can draw and animate, while the other, not-so-nice girl wants to feature this new, glamorous "Edith" in the pictures, who ran away to Hollywood and pursued an acting career.
As Edie learns more and more about the other Edith, she becomes increasingly angry and withdrawn from her parents, until she finally confides in an uncle, who advises her -- no surprise here -- to talk to her mom.
By the time she does, there's a world of hurt to unpack between her and her mother. And Edie is stunned by her mother's, and the government's history of, forced adoptions of Native children in America that was only stopped by the Indian Child Welfare Act of 1978.
I won't spoil the ending! But pull up a box of tissues, as it's an intense mother-daughter moment.