In a world where the lines between work and relaxation often blur, people are rethinking the way they unwind. Gone are the days when a night out at a bar or a loud party was the default plan for winding down after a stressful week. These days, more and more individuals are finding joy in creating cozy, curated environments at home—complete with their favorite movies, snacks, friends, and the added bonus of a dab rig kit. This trend is turning the simple concept of “movie night” into an elevated ritual for relaxation, mindfulness, and connection.
The Rise of Elevated Movie Nights
The classic movie night has always been a cherished pastime. But as people seek deeper comfort and personalization in their leisure time, the movie night experience has been redefined. Instead of merely pressing play on a streaming service and calling it a night, many are now setting the scene—dim lighting, ambient music beforehand, plush blankets, gourmet snacks, and the inclusion of cannabis concentrates enjoyed through a dab rig kit. This piece of gear is becoming the centerpiece of modern chill sessions, offering a refined and flavorful way to experience cannabis in a relaxed setting.
While bongs and joints might still have their place, dab rigs bring a level of sophistication and intentionality to the session. Users often describe a more flavorful, smooth, and controlled experience that pairs well with the laid-back vibe of a movie night. Whether you’re watching a cult classic with friends or diving into a thought-provoking documentary solo, dabbing can add an extra layer of sensory enjoyment to the experience.
Why Dabbing Fits the Chill Night Vibe
So why are dab rigs so well-suited to movie nights? First, the act of dabbing itself is slow and deliberate. Unlike smoking a joint, which can be more casual or social, dabbing encourages mindfulness. The process of heating the nail, selecting the right concentrate, and taking that smooth, flavorful inhale creates a ritualistic feel that complements the cozy, slowed-down pace of a movie night.
Second, dabbing is often cleaner and more discreet than traditional smoking. There’s less lingering odor, which makes it perfect for indoor environments. For people living in apartments or shared housing, this makes dabbing a much more viable and respectful option. It also doesn’t hurt that modern dab rigs come in sleek, artistic designs that double as décor for your coffee table or entertainment area.
Personalizing the Experience
One of the biggest appeals of incorporating a dab rig into movie night is the ability to tailor the experience. Not only can you choose different strains or concentrates for specific effects (think Indica for relaxing or Sativa for staying alert), but you can also coordinate the strain with your movie genre. Want to watch a psychological thriller? Go for something cerebral that enhances your analytical thinking. Comedy night with friends? Opt for a hybrid that promotes euphoria and sociability.
With the addition of a dab rig, the whole experience becomes more customizable. You can experiment with temperatures for different terpene profiles, share hits with friends using carb caps or directional airflow, and even try out infused snacks or beverages to complement your session.
The Social Side of Movie Nights with a Dab Rig
What was once a casual gathering is now transforming into a sensory event. Sharing a dab rig among friends fosters a sense of community and connection, not unlike sharing a bottle of wine or passing around a bowl. But unlike alcohol, dabbing often leaves users more engaged with the movie and less likely to experience grogginess the next day (depending on dosage and strain, of course).
Conversations flow, laughter is louder, and the movie feels more immersive. Whether it’s a nostalgic throwback flick or a new blockbuster, sharing the experience with others while enjoying a dab enhances the emotional connection to both the content and your companions.
Creating the Ultimate Chill Atmosphere
Here are a few tips to elevate your next movie night with a dab rig kit:
Prep the Environment: Set up a clean, cozy space with comfortable seating, good ventilation, and mood lighting. Fairy lights or a few candles can go a long way in creating ambiance.
Choose the Right Dab Rig: Whether you’re using a traditional glass rig or an electronic version, make sure it’s clean and functioning well. A quality dab rig enhances the taste and potency of your concentrates.
Curate the Media: Pick films that suit the vibe you’re going for. Some favorites among dab enthusiasts include trippy visuals like Doctor Strange, high-stakes thrillers like Inception, or laid-back comedies like Pineapple Express.
Snack Smart: Go beyond popcorn. Try infused treats, gourmet nachos, or a charcuterie board with sweet and savory options. Hydrate well—keep water and some herbal teas or mocktails handy.
Mind the Dosage: Start slow, especially if you’re new to dabbing. The goal is relaxation and enjoyment, not going overboard.
Final Thoughts
Movie nights are no longer just about watching a film—they’ve become an immersive wellness and bonding experience. Adding a dab rig kit into the mix introduces a whole new level of intentional relaxation, one that emphasizes comfort, connection, and mindful indulgence. It’s no wonder that more people are turning to this combo as their go-to way to unwind.
Whether you’re flying solo or chilling with a group, a movie night with a dab rig is about more than just cannabis or entertainment—it’s about embracing slow living, savoring the moment, and curating a night that speaks to all the senses.
Cinema Scholars reviews Ari Aster’s new thriller Eddington. The film stars Joaquin Phoenix, Pedro Pascal, Emma Stone, and Austin Butler. A24 is releasing Eddington in theaters everywhere on July 18.
Introduction
Every so often, a director comes along whose singular visual style and storytelling acumen capture the attention of cinephiles. Of recent notoriety, writer/director Ari Aster has become one of the most revered filmmakers today. With his home run debut feature Hereditary and follow-up critic darling Midsommar, Aster’s artistic detail and masterful slow-burn style has earned the filmmaker legions of fans eager for his next project.
Though his often-maligned third effort, Beau Is Afraid, didn’t resonate with everyone, its creation enabled the beginning of a dynamic partnership with leading man Joaquin Phoenix. The duo teams up again for Eddington, with Aster again taking on writing and directing duties.
Joaquin Phoenix and Pedro Pascal star in “Eddington” (2025). Photo courtesy of A24.
Synopsis
In Eddington, Joe Cross (Joaquin Phoenix) is the sheriff of the titular New Mexico town during the COVID-19 lockdown. People waiting in lines 6 feet apart, mask mandates, and take-out only at local restaurants transport the audience to a very specific era in our recent history. As a pandemic skeptic, Cross’s usual small-town logic doesn’t fly in the panic-stricken community, and he soon finds himself at odds with Mayor Ted Garcia (Pedro Pascal).
As their beef escalates, so do tensions around Eddington. Social media and the 24-hour news cycle churn out stories of pandemic fatalities, the George Floyd tragedy and protests, and the multitude of conspiracy theories propagated by keyboard cowboys. On top of it all, a deal with a giant data company threatens to make the quaint community subject to new corporate overlords. As expected, this powder keg of personal vendettas and ego finally explodes. And like most Aster films, when things go sideways, they go big.
Discussion
Eddington is Ari Aster’s most mainstream-feeling movie to date. At times contemplative and emotional, a majority of the film feels like a fun, quirky crime thriller. Think of the Coen Brothers, but with that clear underpinning of dread that Aster so expertly weaves into the fabric of his projects. From the sheriff’s sidekicks to the clichéd woke mayor, a lot of Eddington has an uncharacteristically comical vibe.
Subnarratives interwoven between Cross and Garcia’s central riff give the film much of its emotional punch. Cross’s quarantined and depressed wife, Louise (Emma Stone), is persuaded by silver-tongued conspiracy theorist Vernon (Austin Butler). And Garcia’s son gives a glimpse into the adolescent perspective, examining privilege, virtue signaling, and the ubiquitous influence of social media on screenagers.
A tonal 180-degree turn in the third act nullifies all the dramatic buildup with a rash of violence and mayhem. While finding resolution in bloodshed is problematic, the release of the building tension works brilliantly nonetheless. Embracing the “quiet loud quiet” dogma, the eventual anticlimactic conclusion feels as appropriate as it is unsettling.
Performances
In the lead role as Sheriff Joe Cross, Phoenix delivers his singular brand of the tortured Everyman. Small town Sheriff edition. While he gets to throw around a good bit of bravado, Phoenix shines in Cross’s vulnerable moments. The sympathy Phoenix garners makes his character’s later actions all the more impactful.
Pedro Pascal plays Mayor Garcia with a subtle air of condescending entitlement. Though his character is mostly likable and seemingly defensible, Pascal keeps something smarmy right under the surface to keep everyone guessing.
Emma Stone wows as the troubled Louise. Stone’s performance captures the depression, isolation, and fear that many people experienced as shut-ins during the pandemic. Her plight makes it easy to see how people could be swept away or even radicalized so easily by the daily doom.
Though several other supporting performances stand out, Austin Butler continues his Hollywood domination with a captivating turn as cult-ish leader Vernon. With his intense gaze and pulpit-worthy cadence, Butler gives enigmatic prophet vibes without being completely insufferable. The cherry on top of a colorful cast of delightful characters.
Auston Butler stars in “Eddington” (2025). Photo courtesy of A24.
Further Analysis
Aster may be the first major director to fully realize a cohesive narrative in the context of COVID-19. While the central plot could be a standalone story, the way that the pandemic and the sensationalism of the time inform the arc of Eddington is fascinating and frighteningly familiar.
Literal teenage gossip that sows eventual chaos serves as a metaphor for the real-life rampant misinformation and ensuing fallout of the era. Aster even tackles dirty cops and shameful misconduct.
It could be argued that Aster packs too much commentary into one film. In addition to the above-mentioned issues, the movie tackles many more. From opposing pandemic opinions to Q Anon and the #metoo of the week, to more subtle observations like stockpiles of toilet paper or an Amazon truck trying to get through a crowd of protesters, Eddington covers a ton of ground. And true to form, there are creepy dolls.
Conclusion
Eddington is a compelling post-mortem on pandemic times amid a quirky small-town crime thriller. Ari Aster perfects the dramatic simmer, building intrigue and dread frame after frame. When the pressure valve is finally released, Aster, in usual fashion, leaves us with an oddly satisfying, albeit unnerving, conclusion.
A24 is releasing Eddington in theaters everywhere on July 18.
You almost can’t quite believe that someone hadn’t had this idea before: a well-to-do creative couple living in a cosy Madrid apartment decide that they want to wrap-up their 15 year relationship. Instead of being embarrassed or even saddened by the decision, they instead chose to organise a big party, on the logic that everyone celebrates union and no-one celebrates separation. And that’s massively unfair on separation.
Itsaso Arana is the comically unsentimental Ale, an independent filmmaker who refuses to let her guard down and spends the vast majority of the film with a scowl on her face as if to transmit her constant air of light annoyance at society and its antiquated precepts. Vito Sanz is Alex, her more neurotic partner who nonetheless is entirely all-in on this eccentric enterprise. The film consists of the couple individually disseminating the invite to friends and family while also fending off repeated accusations that the pair are entirely crazy for doing this. The repeated refrain is that they are wantonly destroying something beautiful.
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And from an audience vantage, you’re inclined to agree, as from the intuitive and loving way in which they interact and make decisions together, they present as the model couple. The paradox of this decision is that no couple who truly despises one another, who feels the pressing need to pack up and move on, would be able to be so civilised when it comes to this amicable parting of ways. It’s never fully evident why the pair are breaking up; the inference also is that they too are making a choice as more of a rejection of social mores than as a pressing desire to be rid of one another.
Writer-director Jonás Trueba – son of the Oscar-winning Spanish director Fernando Trueba, who co-stars here as Ale’s crestfallen father – draws on the template of classic Hollywood comedies in which a couple in the throes of a break-up eventually rediscovers the spark that set them off in the first place (The Awful Truth, The Philadelphia Story, His Girl Friday). Yet while those films tended to focus predominantly on the actions of the central couple, The Other Way Around offers a chorus of discourse and commentary and draws humour out of the fact that everyone thinks that Alex and Ale’s decision is an implicit criticism of their own bourgeois complacency.
To add further to the meta-cinematic layering, Ale is also making a film on a similar subject, and though we never actually see it, there are scenes documenting the feedback process in which Trueba comically anticipates some of the criticisms that the audience might level at his own film, the main one being the repetitive structure of the various meetings. But things are kept light and funny enough for the momentum to keep rolling, even if the film does lose its way in the final stretch when the couple go through the domestic process of splitting up and a more straightforward will they/won’t they dynamic is introduced.
Yet in the main this is a perceptive, self-analysing delight, and you can absolutely see this being remade in the English language by a filmmaker who will definitely sand all the edges down and pull back on everything that makes Trueba’s film so unique.
In the terrifying horror thriller The Sound, a world-class group of climbers is granted access to the Forbidden Wall, a mysterious rock face that has been closed for decades. Among the climbers is Sean (Marc Hills), whose grandfather made an ill-fated attempt sixty-three years earlier. During the group’s ascent, they come face-to-face with a malevolent force that quickly turns their expedition into a harrowing battle for survival, hundreds of feet above the ground.
Interview
Cinema Scholars’ own Glen Dower recently interviewed writer and director Brendan Devane about his new horror/thriller, The Sound, starring William Fichtner and Jocelyn Hudon. The film is slated for limited release across the United States on June 27, 2025.
Lightly edited for content and clarity.
Glen Dower:
Mr. Devane. How are you, Sir?
Brendan Devane:
I’m good, Glen, how are you?
Glen Dower:
I’m really good, thanks. We are talking about The Sound, ‘Evil Dead Meets Cliffhanger’, what do you think?
Brendan Devane:
Yeah, there are a bunch of comparisons you can make. In my mind, I am a really big The Thing fan, you know, Carpenter’s great film from the early 80s? I was trying to play a little bit along with those kinds of themes of unseen alien jumps into people’s heads for that kind of psychological thriller, horror feeling that Carpenter had going on there.
Glen Dower:
Growing up, you spent a lot of time in Colorado after you finished college. And how did your experience there, plus Native American culture, come together for the story of The Sound?
Brendan Devane:
I moved to Colorado right after college. I made my parents extra happy to be a ski bum after that, and just learned how to operate in the mountains and got really into ice climbing and rock climbing, and all the other stuff that happens out there. And never really was thinking about filmmaking, I was just into live music production after that in Colorado, and started working my way into production.
And so it’s always been in the back of my mind to have something kind of exciting that I’d liked in the past, like Cliffhanger or Vertical Limit, which I think are entertaining films, but are not very authentic as far as the climbing and how it portrays the climbing. I mean, who doesn’t love Cliffhanger? But the climbing community doesn’t like it as far as what they did. Of course, they got sued by Black Diamond big time for what they did in that opening sequence. So that’s always been part of my, not plan per se, but to make something that is a little bit more authentic to the climbing community.
As far as Native American goes, as you can tell, I’m a big white Irish guy from upstate New York. But I did grow up in a town that is named after Iroquois words. And growing up in the 80s, we did a lot of studying about the Native American aspects of where I grew up in upstate New York, from a town called Saratoga Springs, which is Iroquois for land of the running water.
Rachel Finninger stars in “The Sound” (2025). Photo courtesy of Blue Harbor Entertainment.
Brendan Devane (cont):
So I’ve always had an interest in Native Americans. And I played lacrosse, which is their sport, since I was a little kid, and played in a lot of leagues with the Iroquois Nationals and stuff like that, and got to know them. When you’re like me, i.e,. Not Native American, you have to tread carefully, as it’s not my story to tell. So I brought the Native Americans in to bolster that storyline.
Glen Dower:
You mentioned Cliffhanger you mentioned Vertical Limit, which are the two films I noted. How did you maintain a level of authenticity that perhaps those filmed lacked in favor of entertainment?
Brendan Devane:
It’s the reality of big wall rock climbing. That’s kind of boring! It takes hours and hours, right? Even Free Solo, one of the most exciting documentaries I’ve ever seen, took him five hours or something to do that climb. They show what 10 minutes of it, maybe, right? So you have to look for little moments in this, trying to make it authentic, because an authentic climbing movie is kind of boring, except for little spots where they may be exposed to a fall or something like that.
It was a challenge to keep it authentic, while still providing scares or tension, or thrills like that, by involving little things where the lead characters are off rope, and he slips and he might, and he might fall or something like that, which is in the realm of possibility.
When Chris O’Donnell jumps from one peak to the other in Vertical Limit with his two ice axes, it’s fun and exciting, but it’s not real, right? What happens is he falls to his death, right? That’s what’s going to happen in real life. So it takes a balance to try to make things exciting, as far as a Hollywood movie can, while still also trying to be authentic to rock climbing. And that’s why I decided, you know, pretty early on in the process that I couldn’t film this with, like, necessarily a regular production crew, or with actors.
Turns out SAG doesn’t want you to put people a thousand feet in the air! So we made two separate movies. One was a straight rock climbing film with professional rock climbers and a professional rock climbing shoot team, and the other with actors and a professional production crew, and then kind of tried to meld them in post.
We see during the credits at the very end of the movie, we see scenes with the actors. So was that to imply these guys are legit, they work hard, as opposed to just name scrolling, to actually show them in action?
Brendan Devane:
I’m always thinking of doing cool things for credits that make it a little bit interesting than just a scroll. And those were all pictures of their personal lives. It wasn’t even having to do with the film. Most of the people who were cast in this as rock climbers are rock climbers in their personal lives, maybe not professional, but Mark, the lead, who plays Sean, is an accomplished rock climber. All of them are. And so I wanted to kind of like, add a little bit to the authenticity of showing them, you know, doing this sport where typically, you know, it’s an actor who doesn’t, that’s one of my favorite parts of the Truman Show where they tell the bus driver can’t drive away in the bus because he’s an actor, right?
And this particular movie, I wanted to make sure the actors were a part of the skills, like the original Point Break when Catherine cast those surfers, she looked for surfers with SAG cards, instead of teaching actors how to surf, those background ones, obviously not Swayze or Keanu, but so I approached it the same way. I was looking for rock climbers who were also actors.
Glen Dower:
Let’s talk about some of the supporting actors as well. You’ve got William Fichtner, who is one of those actors who just brings the gravitas with the undercurrent of menace or mystery, and Kyle Gass as well! How did those two guys come to be involved?
Brendan Devane:
Well, when you’re talking about a film like this, you’re always looking for angles to be able to promote and market the film, right? If you’re not building a film in pre-production that you can market later, you’re probably doing something wrong as a filmmaker because, without the business, there’s no show, right, as the old saying goes. So that role was always earmarked for maybe a more ‘visible’ actor. And it turned out that the actor Gabe Greenspan, who’s Jason Alexander’s son, did an amazing job, was represented by the same agent who represents Bill.
And after I booked Gabe, I’m a big fan of ‘What’s the worst that can happen. They can say no,’ right? It’s like, ‘hey, I see you represent Bill. Would Bill be interested in this part?’ And he read the script and was in it. And so we got him into the film. And what an amazing actor and person to work with, and just an all-around great guy outside of the business.
Really, it was an absolute pleasure to work with Bill, and I feel very fortunate that he joined the project. As far as Kyle, I’ve always been a big Tenacious D fan. I worked with them when I was a roadie 25 years ago, back when they were first starting. And who doesn’t love Elf and Kyle’s turn as Eugene Dupree? So that was another serendipitous thing where I was working with Kyle’s agent, who at the time represented David Clennon, and Jocelyn Hudon, who also makes an appearance in the film.
William Fichtner stars in “The Sound” (2025). Photo courtesy of Blue Harbor Entertainment.
Brendan Devane (cont):
And so I kind of bundled those three actors, like a disc, ‘hey, if I cast these two people, I get a discount on Kyle?’ So, a lot of times that’s how this casting goes when you’re not necessarily looking for auditions and your normal casting director is going through all the tapes and stuff, and I’m just looking to fill roles. You know, a lot of it just kind of comes together. And it’s about working relationships with people in the business, the agents who are getting these people to work. So that was very helpful to be able to kind of one-stop shop those casting decisions.
Glen Dower:
I’m also a big fan of what’s the worst they can say, apart from ‘no’. And we just have to talk about David Clennon. I’m so glad you brought up John Carpenter’s The Thing at the very start. I saw his name in press release, and if people are reading, if I just say, “You gotta be fucking kidding…” Yes, Palmer is in this movie! I like to think this is Palmer had he not died in The Thing. So it must have been a thrill for you. Because for me, The Thing is up there in my top two favorite, perfect movies, along with Predator.
Brendan Devane:
Absolutely. When I saw The Thing, I think I was 10, and it scared the shit out of me! It just stuck. It’s one of those films that just sticks with you. I don’t throw around words like ‘invent’, but Carpenter kind of started the ‘contained horror’ before that was a thing. Nobody was talking about contained horror, but there it is. 12 people are stuck in a base in Antarctica. And that’s where, for me, the tension is derived from. They can’t escape each other. And they don’t know who’s infected.
There’s a lot of gore and blood and disgusting stuff in The Thing that we don’t necessarily get into. But I tried to bring a little bit of that tension of the unknown. It’s difficult when you’re on a big wall rock climb because the people are in proximity to each other, like they are in The Thing. When you’ve got five people sitting around a little room, and they’re testing the blood, one of my favorite scenes of all time, when they’re testing the blood to see who’s infected. I tried to do a little throwback to that, where they’re testing on the radio to see what it is.
I combined The Good, the Bad, and the Ugly, and that standoff there at the end between Angel Eyes, Blondie, and Tuco with that test. Hopefully, people catch it when Dave says, ‘It’s not like Antarctica down there’, because I did want to give him a little bit of a throwback to Palmer there. I can’t say enough great things about Dave. He became a good friend, and we still text. He’s coming to the premiere in Vegas. He’s an all-around stand-up person and a tremendous actor who I’m extremely grateful to for joining the project.
Glen Dower:
I just want to ask about that line. Was that line in the script before he was on board, or written for him?
Brendan Devane:
That was written for him. I had to sneak that one in for him. The character’s name is Kurt Carpenter. Now, that never really comes out, he’s called Kurt. And I combined Kurt Russell with John Carpenter there to give him a little thing. I think he’s called Kurt once in the film. But yeah, that’s just one of those little details, right, that make me chuckle that no one else will hear.
Glen Dower:
There we go, that’s the exclusive. I love that. Now, we don’t want to give too much away, but there are possibilities for a follow-up? Do we have plans for More of The Sound?
Brendan Devane:
Well, you always like to think so, right? But a lot of times this is determined on, you know, like somebody gives you a bag of money to go film a sequel, right? We’ll see how people respond to this and whether I do have a script written and an idea that just basically picks up from the ending of this. It goes a little bit bigger, filming in Norway and Italy and around the world as a higher kind of a higher budget thing. Part of this doing the sound is that we had to learn how to shoot a rock climbing feature horror, which I’m sure someone out there has done something.
Alex Honnold stars in “The Sound” (2025). Photo courtesy of Blue Harbor Entertainment.
I firmly believe that every movie has ever made in the 1950s was made by some French person, right? We’ve all got recycled ideas here. So, we had to learn how to do this at our budget level. It’s a little bit different from a hundred million dollars. Then you can use digi-doubles, you can green screen everything, right?
You can make it look like Mission Impossible, but on our budget, you know, it takes a little bit more ingenuity to pull some of this off. Hopefully, we can continue the story. You never know. I’m a big fan who isn’t of Christopher Nolan and the way that he kind of likes to leaves some of his films that little up in the air of like, is the top still spinning, or is he still in the dream, or is he not in the dream? I kind of like to leave things a little open-ended at the end so that people can imagine if there’s no more, if there isn’t a sequel, people can at least imagine that the story continues in whatever way that they think that it might go.
Glen Dower:
Perfect. The Sound is in theaters and on digital on the 27th of June. Brendan, thank you very much for your time. It’s been a pleasure.
Brendan Devane:
Thanks so much, Glen.
The Sound is in theaters and on VOD from June 27, from Blue Harbor Entertainment.
In a world where the ordinary fades into the background, LEX by Nemiroff emerges as a beacon of unparalleled refinement and craftsmanship. It is more than just vodka; it is the embodiment of sophistication, where tradition meets innovation, creating a spirit that speaks to those who appreciate the finer things in life. With its meticulous creation, LEX transcends mere consumption, becoming an experience in itself.
This ultra-premium vodka is the result of a 13-stage filtration process, an intricate journey through silver, amber, and platinum filtration that refines the spirit to absolute purity. Each drop flows with an unearthly smoothness, a testament to both the craftsmanship behind it and the superior quality of its ingredients. From the moment it touches the lips, LEX unveils its impeccably smooth character, leaving a clean, crisp finish that lingers, whispering of luxury.
More than a drink, LEX by Nemiroff represents a lifestyle—a statement of elegance and innovation. Its stunning bottle design mirrors the artistry and dedication that go into every step of its creation, capturing the essence of luxury in a single glance. Designed for the bold, the daring, and the refined, LEX appeals to those who demand the finest.
This is not a spirit for the ordinary. It is for the discerning few who understand that true luxury lies in the details—the craftsmanship, the tradition, the innovation. LEX by Nemiroff is a new era in vodka, where every element combines to create something far greater than the sum of its parts.
A History That Inspires: The Ukrainian Heart of LEX by Nemiroff
The tale of LEX by Nemiroff is one deeply rooted in Ukrainian heritage, where centuries of tradition meet the bold spirit of innovation. Born from the land known for its rich culture, vibrant history, and deep connection to nature, LEX by Nemiroff carries within it the heart of Ukraine. The journey of this iconic brand began in 1872, when the Nemiroff distillery was established in the town of Nemyriv, a small Ukrainian village that would soon be known worldwide for producing some of the finest spirits.
From its early days, Nemiroff embraced a philosophy of excellence and craftsmanship, blending the finest ingredients with centuries-old distillation techniques. Over the years, this commitment to quality and tradition paved the way for Nemiroff to rise as a leading name in the global spirits industry. However, it wasn’t just the quality that set Nemiroff apart—it was their dedication to preserving the Ukrainian heart in every bottle.
LEX by Nemiroff represents the pinnacle of this dedication. It is the ultimate expression of the brand’s journey—a fusion of heritage and innovation. Each step of the creation process, from the selection of ingredients to the intricate 13-stage filtration, pays homage to the proud Ukrainian spirit that runs through the veins of this extraordinary vodka. The blend of traditional craftsmanship and modern excellence allows LEX to transcend the ordinary and capture the essence of Ukrainian soul in every drop.
For those who choose LEX by Nemiroff, it is not merely a drink but a connection to a heritage that speaks of resilience, artistry, and a profound respect for the land and people who have shaped it. This is the story of a brand with a Ukrainian heart—one that continues to inspire, enrich, and captivate.
LEX by Nemiroff: The Exceptional Choice
LEX by Nemiroff stands as a testament to the artistry and mastery behind ultra-premium vodka. Crafted with meticulous attention to detail, it represents the pinnacle of Ukrainian distilling heritage, where centuries-old traditions meet cutting-edge innovation. The vodka’s refined 13-stage filtration process, incorporating silver, amber, and platinum, results in an unparalleled smoothness and clarity that sets it apart in a crowded market. LEX is more than a drink; it is an experience, an embodiment of sophistication and luxury, appealing to connoisseurs who seek perfection in every sip. With its elegant design and exceptional flavor profile, LEX captures the essence of the finest spirits, making it the ultimate choice for those who demand nothing but the best. It’s not just a beverage; it’s a symbol of taste, craftsmanship, and distinction.
Innovations That Have Set a New Standard
LEX by Nemiroff is also distinguished by the addition of botanicals distilled with alambic. Usually, according to European legislation, if aromatic spirits and aromas are added to vodka, it becomes a flavored vodka. LEX by Nemiroff is on the verge of doing so, and this is an additional uniqueness of the product.
Alambic distillation is a traditional method preferred by craft or premium distilleries/distilleries. The result of distillation is aromatic alcohol – a technology similar to the production of perfumes. The alcohol we get has a head, body and tail. Our distillery masters carefully select only the body of the alcohol to obtain the most delicate notes of aromatic alcohol. Then, linden blossom aromatic alcohol is added to the blend. In this way, the aromatic spirit imparts a light floral aroma and taste to LEX by Nemiroff and keeps it in the category of classic white vodka.
Complexity and Depth of Taste
LEX by Nemiroff stands as a testament to the artistry of vodka craftsmanship, offering a complexity and depth of taste that sets it apart from ordinary spirits. Its ultra-premium quality is not only evident in its smooth texture but in the layers of flavors that unfold with each sip. The meticulous 13-stage filtration process refines the vodka to perfection, allowing its natural flavors to emerge in a balanced yet intricate profile. Subtle notes of softness and warmth are complemented by a crisp, clean finish, creating a depth that lingers on the palate. This remarkable flavor profile showcases the commitment to excellence in every detail, offering a drinking experience that is as sophisticated as it is unforgettable. LEX by Nemiroff transcends the ordinary, revealing the beauty of vodka at its finest.
The Specialty of LEX by Nemiroff
We use only artesian water from deep wells, as it has a low level of mineralization, which makes it as pure and neutral as possible. Also, artesian water is softer, which is also important in the process of making ultra-premium vodka, which is characterized by its extremely mild taste. Prepared water for LEX by Nemiroff undergoes additional filtration with shungite, which improves its taste and structure. Next, the main filtration of the finished liquid is carried out in order to combine the two raw materials and obtain the formula that is needed for additional filtration. Also we use three additional filtrations to perfect the liquid.
Silver filtration is part of the quality control and liquid purification process implemented by Nemiroff. It helps to eliminate harsh flavor notes from the vodka, which contributes to a milder taste. Platinum filtration is an additional filtration step that LEX by Nemiroff passes through. It provides the final softening of the liquid to guarantee a refined and elegant taste and aftertaste. In particular, it improves the organoleptic properties of the final product, resulting in a softer and more delicate flavor. As a result, vodka that undergoes platinum filtration is characterized by a luxurious flavor profile.
Amber filtration is a part of the LEX by Nemiroff production process, as it purifies and improves the sensory qualities of the vodka. One of the characteristic features of amber filtration is that it gives LEX by Nemiroff vodka a light golden hue, which increases its visual appeal. In addition, after passing through amber filtration, LEX by Nemiroff acquires more complex flavor notes, as new shades are added and the taste is delicately enhanced. Finally, amber filtration emphasizes the artisanal approach used to produce LEX by Nemiroff vodka.
Conclusion
LEX by Nemiroff isn’t just a vodka; it’s an experience. It’s a testament to craftsmanship, tradition, and the pursuit of perfection, making it the drink of choice for those who seek luxury, refinement, and a truly exceptional taste.
In December 1989, whilst the Western World was gearing up for Christmas celebrations, things looked markedly different in Communist Romania. Ruled with an iron fist by Nicolae Ceaușescu, the country was on the brink of revolution. Overthrowing the much maligned leader resulted in violent bloodshed across a number of towns and cities, with protests in the city of Timișoara paving the way for Bucharest to stage its own revolt.
That is the backdrop for writer / director Bogdan Muresanu’s historical drama, The New Year That Never Came. It’s just four days before Christmas and Romania hovers on the precipice of change. Whilst the festive television broadcasts prepare to praise Ceaușescu, the citizens of the capital are disillusioned and scared. This feature length debut sees six different stories intersect as Romania decides its own fate.
This chapter in history is perhaps one that Western cinema, in particular, is not entirely familiar with, despite its bloody and dramatic consequences. Muresanu keeps the pace steady throughout, encouraging viewers to truly embed themselves in the lives they are seeing on screen. He provides a sense of what was really going on – the paranoia, spying, censorship and violence that was rooted in the regime right until the very end. Even the most ardent of Ceaușescu supporters are quick to burn their files and disavow the very rules they so heartily imposed. It’s fascinating and complex, as all pivotal moments in history are. By placing the story in the hands of ordinary people, Muresanu keeps things authentic and engaging.
Margareta (Emilia Dobrin) initially joined the party through choice and genuine belief. Now, as she packs up her belongings and heads for a tiny, state-appointed flat, she is jaded and disillusioned with the regime. Her son, Dinca (Iulian Postelnicu), runs a flagging student informer ring. Florina (Nicoleta Hâncu) is a theatre actress, drafted in at the last minute to perform the New Year’s message. But she cannot bring herself to “ass kiss”, in light of recent tragedies. Gelu (Adrian Vancica) is a manual worker who is potentially facing jail time, if his son’s letter to Santa is read by anyone in authority. Vlad (Vlad Ionut Popescu) and Laurentiu (Andrei Miercure) are students who are planning to defect by crossing the Danube in the dead of night.
The screen feels drained of colour as Muresanu uses a palette of smoky greys, arid browns and steel blues. Apartments are weighed down with dark, old-fashioned furniture and clashing patterns of mustard, cinnamon and chestnut. Televisions and radios flicker on and off to assert that the army are simply doing their job to protect good citizens; protestors are a terrible threat to civilised society. Students, in their uniforms of tracksuit tops and shaggy hair, are attempting to defect. Indeed, a leading television star has also done so – ruining the planned New Year’s message. Every scene, every conversation feels laden with a danger that no one dares articulate. Instead, it’s in what these characters don’t say where the truth lies.
Muresanu also revels a little in the absurdity of the situation. Florina asks her domestic abuser neighbour to beat her up, too, so she can avoid her television appearance. “Don’t you have a boyfriend to do that for you?” he replies. We then see her slapping her own face with a large rubber fly swatter instead. Gelu panics that he is headed for prison when his son states – in a piece of school work – that his father’s wish is for “Uncle Nick” to die. He insists his son re-write the piece, lest he find himself facing the firing squad. Laurentiu, having received the beating of his life from a man in military uniform, is made to sign a false confession even as the regime collapses. Margareta tries to kill herself but cannot because the government has switched the gas off in her apartment block. This is not to say we are encouraged to laugh at these characters, but rather the ridiculousness of the regime itself.
Ravel’s Bolero is used to bring the film to its conclusion, lacing the fates of all the characters together with the fate of the country. It is chaotic as Muresanu alternates between characters in their final moments of life under Ceaușescu. It is a frenzied and violent bid for peace and prosperity; for freedom. Archival footage of the packed streets and determined citizens – the scale of it really is incredible to behold – bring us neatly to the credits along with the prominent percussion of the music. It is a very powerful moment of cinema.
Whilst the pacing might prove too slow for some, Bogdan Muresanu’s drama, The New Year That Never Came is an interesting exploration of a dramatic chapter of history. It blends private stories with public consequences seamlessly and is made compelling by some very strong performances.
The New Year That Never Came is screening at the Glasgow Film Festival 2025. Get your tickets here.
Editor at Moviescramble. European cinema, grisly thrillers and show stopping musicals are my bag. Classic Hollywood Cinema is comfort food. Spare time is heavily dependent on a lot of pizza and power ballads.
