New temperance movements across the cinemas of Canada.

This essay presents three film examples from across the cinemas of Canada which grapple with the politics of sobriety amidst unique cultural contexts: Werewolf (Ashley McKenzie, 2016) broaches the topic of opioid addiction on Cape Breton Island; Love in the Time of Civil War (Rodrigue Jean, 2014) of drug addiction on the streets of Montreal; and The Honour of All (Phil Lucas, 1992), the history of alcoholism on Esk'etemec First Nation in British Columbia. The narratives, aesthetics and modes of production of each film are analysed with an eye towards how they advance a new temperance sensibility that is non-prohibitionist, non-universalist and non-moralist. The three films are positioned within a canon of Canadian films about alcohol and substance misuse, as well as within a broader set of new temperance initiatives found in Canadian society at large. By selecting one film each from an English-Canadian, Acadian-Québécois and First Nations milieu, this paper proposes that their diffuse affinity for surviving addiction offers a means of organizing Canadian cultural studies for reasons other than national belonging, and conceives of temperance as an autonomous movement distinct from state-based public health solutions.