The release of Garance, a film directed by Jeanne Herry and starring Adèle Exarchopoulos as an alcoholic actress, has sparked discussion about how alcohol is portrayed in French cinema. Historian Erwan Pointeau-Lagadec, author of the book Until We Are Drunk. Alcohol and Cinema in France since the 1960s, argues that films often give a biased view of how the French relate to alcohol. Published by Hygée Éditions and supported by the National Cancer Institute (INC), the book highlights that while actual alcohol consumption in France has dropped significantly—from nearly 25 liters per person per year in the 1960s to around 10 liters in 2021—its depiction in films has remained largely unchanged. The book analyzed 190 feature films, selected among the most successful French productions between 1961 and 2021. Of these, 175, or 92%, included at least one scene showing alcohol consumption. Despite the real-world decline in drinking, the presence of alcohol on screen has remained stable. Researchers have proposed two main reasons for this discrepancy: a sociological one, noting that the film industry's working conditions and environment might expose actors and crew to higher levels of alcohol consumption than the general population; and an economic one, suggesting that the alcohol industry may have found indirect ways to influence cinema through product placement, even though such placements are legally prohibited. The Évin law, a French regulation designed to reduce the influence of alcohol and tobacco in public spaces, does not directly target the portrayal of alcohol in films. The law focuses on advertising, not on the positive depiction of drinking, which remains legal. As a result, alcohol producers may have used cinema as part of a broader strategy to maintain visibility, despite the uncertain effects of these portrayals on public health. Pointeau-Lagadec also notes that how alcohol is shown in films has changed since the 1960s. There has been a decline in the depiction of habitual drinking, with more focus on occasional, festive consumption, mirroring real-world trends. Additionally, the characters who drink have changed, with more female characters consuming alcohol, often portrayed as a sign of independence rather than a negative trait. Films such as A Swallow Makes a Summer (2001) and Twenty Years Apart show female characters drinking alone, emphasizing their autonomy. The book also explores how different forms of alcohol consumption are represented in cinema. While some themes emerged in the 2010s, similar ideas appeared in earlier films. For example, What Have We Done to the Good Lord? links drinking alcohol with French identity, a concept with historical roots. More recent films have also shown alcohol as a point of tension between different cultural groups, reflecting broader debates about identity in French society. In conclusion, while cinema continues to shape public perceptions of alcohol consumption, its impact on public health remains a topic of debate. The question of whether the potential negative effects of such portrayals are acceptable in the context of freedom of expression and public health remains open.