As imagined here by Vreeland, Carr struggles against turn-of-the-century Victorian codes that dictated both how a lady should act and how art should rendered and evaluated. In embracing the rapidly disappearing indigenous cultures of British Columbia, Carr created bold, Impressionist paintings that horrified the public as much as those of her male French counterparts. It was only belatedly (though still in her lifetime) that her art was embraced. In this richly imagined telling of Carr's life, Vreeland creates a fascinating cast of characters, from the indigenous people Carr befriends to her own sisters who cannot understand her passions or her paintings. Most memorable is her friendship with a mentally disabled man, Harold, who finds peace in Carr's paintings, which remind him of his own troubled childhood as the son of missionaries.