The Little Girl Who Was Too Fond of Matches (French: La petite fille qui aimait trop les allumettes) is a 2017 Canadian drama film directed by Simon Lavoie and starring Marine Johnson, Antoine L'Écuyer and Jean-François Casabonne.

An adaptation of Gaétan Soucy's novel of the same name, the film centres on Alice Soissons (Marine Johnson), a girl raised to believe she is a boy, who lives in with her father and brother in oppressive and secluded conditions.

In rural 1930s Quebec, Alice lives in house with older brother, known only as Frère, and their father Mr. Soissons, a recluse who is feared and hated in the village.

As Alice has doubts as to these stories, Frère finds her outside of the house reading a book, the memoirs of the Duc de Saint-Simon, that Soissons has banned.

One of the churchgoers, a young man named Paul-Marie, then enters and unties her, tells her she is female, and notices she is pregnant.

Frère picks up a rifle and declares himself the new master of the domain; Alice tells him to feel her belly, as she has experienced quickening.

Paul-Marie arrives to warn Alice and Frère that the priest, coroner, pathologist and armed police are marching to the property.

[5] On 26 April 2016, Telefilm Canada announced $17 million in grants for 17 projects, including the adaptation to be directed by Lavoie, based on his screenplay.

[5] Lavoie described the story as a poetic drama about life before the Quiet Revolution, a time of sexual repression and numerous religious and social issues.

[7] A release in Quebec theatres was then scheduled for 3 November,[13] and the first trailer was publicized in August 2017, revealing the black and white photography and hinting at intense themes.

[18] Odile Tremblay wrote in Le Devoir that the adaptation would appeal to fans of the novel, and the deceased Soucy would have accepted the interpretation.

[20] The Hollywood Reporter's Boyd van Hoeij declared "this is art house fare that's challenging but also rewarding".

[21] Marc-André Lussier [fr] awarded it three and a half stars in La Presse, positively reviewing the style.

[24] In March for The Martlet, John Ledingham declared it "not a film for the faint of heart" but in which some viewers may find "something sublime in a suffering timeless and universal".