"The novel is structured almost entirely around Marie-Pierre, and around the shifts in thinking and ways of being that the frank celebration of her gender ambiguity occasions in others; by contrast, the film is focalized (quite literally, given how often her gaze is reflexively foregrounded) almost exclusively through the perspective of Camille, who refuses to accept her father as a woman."
-- Peter Dickinson
Dickinson, Peter. Screening Gender, Framing Genre: Canadian Literature into Film. Toronto: University of Toronto Press, 2007. (p. 126)