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AbstractNarrative cinema holds the unique potential to absorb audiences in the sensory world of its characters. When mobilized in the service of depicting trans* experience, the specificity of the medium can generate deep empathy for trans* lives, an important ethical objective, especially in a society in which trans* lives are under attack. Through close formal analysis, this article shows how the 1997 film Ma vie en rose accomplishes this project by cinematically aligning film spectators with a transgender child's audiovisual perception. Ma vie en rose immerses the film spectator in Ludovic's fantasy world where they are completely accepted as they are, inspiring the spectator to become personally invested in Ludovic's well-being, and potentially contributing to a real-world social environment that fosters livable lives for gender-nonconforming children.

The proportion of females in India's population, low compared to other countries, reached its lowest level this century in the 1991 census. India's low sex ratios—defined here as the number of females relative to the number of males—have been scrutinized for well over a century. The persistent decline in the twentieth century has been the subject of renewed investigation and critical comment over the past two decades. While many explanations for the decline have been offered, almost without exception these have not addressed the causes of the nearly continuous fall observed since 1901. Several possible long‐term changes are investigated in this note. The author argues that India's declining sex ratio is primarily an artifact of the dynamics of India's population growth.