SHE WALKS IN BEAUTY LIKE THE NIGHT
or
BELVAL’S OWN “URBAN
PIANO
Once upon a time, ROUX took a sad piano and transformed it into a celestial illumination.
As part of My Urban Piano Luxembourg – a project that makes public pianos pop up all over the city for anyone to jam on – ROUX magazine teamed up with Espace Cultures and the UniLu student community to give this one a heavenly-approved makeover.
THE CHRONICLE
Session 2:
Session 1:
We sanded, we primed, we inhaled paint fumes. See how little the Body is to those who only answer to the name of Art.
After 3 hours of work, approximately 30 layers of paint and two and half mental breakdowns, the backdrop was born: an ombré masterpiece inspired by the colours of the sky, shifting from moody midnight blues to dreamy daylight pastels. Very demure, very fey, very twee, very dainty, mild-mannered, amicable and inoffensive enough – a dash lackadaisical and kind of milquetoast, but overall fairly aesthetic.
Final Sessions
At the time when this magazine issue is about to get released, the things are getting a little *extra*. We invited students to inhale more fumes with us and let our imaginations run wild, filling the sky with whatever our hearts desired. Celestial bodies? Mysterious creatures? Aliens? Flying hotdogs? Whoever’s gonna play the first tunes, hope you guys know the chords of Life on Mars.
WHY SKY?
Being at a university means constantly exploring new ideas, discovering knowledge, and pushing beyond the limit. Gazing into the infinite sky perfectly translates this sense of curiosity and adventure, that in its extreme can feel almost like powerlessness – an awe inspired by the sublime beauty of all things. Also, Belval is so gloomy. The sun being an urban legend here, we had to take matters into our own hands and paint ourselves a sky full of wacky medieval suns, stars, dreamy and slightly psychotic celestial wonders. If we can’t have sunshine outside, can we at least have it (at home) on our piano – where sunlight might not reach, but where we can still feel its warmth in the quiet moments of creation? Amidst all of this cosmic landscape, there is a lingering recognition of something rather sorrowful. “I stood looking over my damaged home and tried to forget the sweetness of life on Earth”. Emily St. John Mandel’s words speak to the fragility of everything that we hold dear, to the recognition that the world – our world – is being irreparably altered, ever so.
Watching the sky can be a way to contemplate the beauty of the world. For many such dreamers today, it also stirs thoughts of our vulnerability in the face of an uncertain future.
Our act of seeking solace in creation is, in some way, an acknowledgment of loss, a yearning for something precious we might never fully reclaim. In the tension between the sublime and the broken, we stand: creating, resisting, and wondering if our brightest moments of creativity are, in some quiet way, our response to the shadows we cannot outrun.
The piano will soon sit proudly on Campus Belval, ready for anyone to play (or just stare at and pretend they know how to play).
Massive shoutout to Espace Culture for organising the workshop and providing us with all the materials, and for everyone who showed up, picked up a brush, spilled some paint, or simply hyped us up. Looking forward to hear y’all play! <3
ROUXPHORIA
On the 12th of April, ROUX magazine launched the very first edition of ROUXPHORIA - our brand new monthly party series, generously hosted by our beloved Café SAGA.
The chosen theme - an outline for music and the party’s dress code - was Y2K.
Born in September 2022 out of a desire to support the creativity at the University of Luxembourg, ROUX magazine was always destined to leave the page and hit the dance floor. And now, we’re doing exactly that - one themed party at a time, under the red lights of Belval’s blast furnace.
Everyone’s fits were serving: chains clinking, low-rise jeans rising (barely), tight tops, big pants, band t-shirts, frosted eyeshadow.... you understood the assignment. Our playlist was a sweet blend of Y2K pop + alt/metal bangers that had us scream-singing and headbanging like it was 2002.
Thanks to everyone who showed up and danced like no one was filming (even though we definitely were).
C U NEXT MONTH -- and follow us on insta to find out a theme for the next party on the 17th of May!
Stay ROUXxxed
ROUXPHORIA
text&layout
by Kristina Shatokhina photo credits: ROUX team
It has been a minute since I took an interest in mixology. I believe there is something truly precious about recipes that have been passed down for hundreds of years sometimes! A cocktail is so much more than a poor mixture at a party; often, it reveals a lot of history, geography and culture. After countless iterations and trials, I’ve created a few solid recipes that I’m proud to call my own. These drinks aren’t just beveragesthey are conversation starters, guaranteed to intrigue anyone who sips them. Imagine this: “Oh, what’s this drink? Why is it SO delicious?!?” “Ah, haven’t you heard of the ROUX Rêverie? Ughhh, it’s that iconic cocktail from a student magazine!”
Bee for Exam
This was my first original creation. While visiting my friend Frank, a mixology enthusiast, I brought along a honey liqueur. We wanted to experiment, and I already had a clear vision. Honey and lime is one of my favourite flavour combinations. They complement each other perfectly, so I kept this as my foundation for the drink. Though the recipe is straightforward, it achieves a beautiful honeyed sweetness with just the right acidity cutting through. It's an ideal summer drink that resembles other sweet citrus cocktails but maintains its own unique character. As for the name? Well, I aced my exam the next day, so it worked!
Ingredients:
- 50 ml Tequila
- 50 ml Honey Liqueur
- Juice of 1 whole lime (keep one slice for garnish)
Instructions:
1) Shake all ingredients with ice.
2) Strain into a coupe glass.
3) Garnish with a lime slice on the rim.
Album Pairing:
Stan Getz & João Gilberto – Getz/Gilberto, a straightforward yet exquisite blend, delivering a smooth, sun-drenched experience that eases the mind.
7th March*
This cocktail is a twist on the classic Espresso Martini. One night, my friend Tiago asked for a cocktail with Bailey's, an Irish cream liqueur he loves for its velvety sweetness. Having just made an espresso martini for someone else, I thought: why not replace the vodka with Bailey's? This drink is perfect for dessert lovers - it tastes like a syrupy cappuccino mixed with tiramisu. It's especially comforting in winter, when you come in from the cold to a warm room with soft, cozy sofas.
Ingredients:
- 40 ml Espresso
- 40 ml Coffee Liqueur
- 40 ml Bailey's
- A Small pinch of salt
Instructions:
1) Shake all ingredients with ice.
2) Strain into a martini glass.
3) Garnish with three coffee beans on the foam.
Album Pairing:
Jessica Pratt – Here in the Pitch, a whisper of winter's quiet beauty, much like the "7th March" cocktail; both are delicate creations, their subtle depth creating a perfect harmony for a cozy evening.
*Hey hot shot, this one can be ordered at the Belval Student Lo unge!
Fizz Bomb*
For this cocktail, I wanted to emulate the taste of a sour gummy, one of my favorite treats (if only more were made without gelatin!). After some experimentation, I created a simple formula that's surprisingly accurate; and everyone who tried it was amazed by how similar it tasted to sour gummies. This is the ultimate party drink: easy to make, visually appealing, and refreshingly sweet and sour.
Ingredients:
- 40 ml Vodka
- 20 ml Triple Sec
- 20 ml Grenadine Syrup
- 20 ml Lime Juice
- 150 ml Sparkling Sweet Lemonade
Instructions:
1) Shake all ingredients except the lemonade with ice.
2) Strain into a Collins glass.
3) Top with lemonade.
4) Garnish with a sour gummy candy on the rim.
Album Pairing:
Cece Nathalie – Miss Behaves, the perfect party playlist with catchy melodies and amazing anthems that match this drink's easy-going nature, fizzy character, and vibrant red colour.
Roux Rêverie*
Just a small but important disclaimer: The cocktails in this collection contain alcohol.
Excessive consumption poses serious health risks, including liver damage, addiction, and impaired judgment. Your well-being matters more than any cocktail.
This cocktail had me experimenting for a while. I wanted something elegant, artsy, tasteful, and representative of ROUX in some way. There are special references to friends: Licor 43 for Dorian, who loves this smooth Spanish liqueur; cranberry juice, essential to the Cosmopolitan, Daniel's favorite; and crémant, Mégane's preferred sipper. Beyond its beautiful ROUX-inspired orange color, this drink delivers sweet, spicy, juicy, floral notes with tartness and fizz. It's perfect for golden hour, on summer evenings.
- 20 ml Ginger Syrup
- 40 ml Cold Rosehip Infusion
- 20 ml Fresh Lime Juice
- 20 ml Cranberry Juice
- Top with 100ml Luxembourg Crémant Sec
- 2 dashes Angostura bitters
1) Steep dried rosehip in hot water for 4 minutes and let it cool completely.
2) Shake all ingredients except the crémant with ice.
3) Strain into a round wine glass.
4) Top with crémant.
5) No garnish needed. The colour speaks for itself ;)
, a golden hour blend of jazz-rock elegance, mirroring the ideal setting for the ROUX Rêverie: a sophisticated summer evening, where Aja's smooth, danceable grooves provide the perfect soundtrack to a vibrant drink.
Recipes and Text by
Stefan Capitanescu
Layout by Sherley De Deurwaerder
Dearest gentle reader,
This author must say that whatever one makes of the gossip in our fair Belval, one must know, this author’s aim is just to entertain. I will however not be employing true names of the beau monde, as our dearest Crown (OSL) would never allow for such indiscretion.
This author must wonder, what has brought the two Lords to be embroiled in a vicious disagreement, over what appears to be a simple question of right or wrong.
Those of you with a penchant for the scientific studies will know what this author hints to, but for those who do not, let me enlighten you.
The two Lords in question have been overtaken by emotion, when, during a meeting of utmost importance, they engaged in combat on the finality of an equation. Was it just an unexpected disagreement, or was the tension long brewing between them? This author does not know.
Furthermore, something twisted has been occurring in our ton. Miss Magpie has witnessed the most peculiar sight in the mighty dark halls of the MSA, an eerie figure lurking in the shadows, described by her as no other than a vampire, who seems to have taken residence in the shadowy corners of our beloved building. Who this mystery person is, this author has not been able to find out, although I wish this being to have no bad intentions, if by some unfortunate turn of events our paths cross.
Mystery has also enveloped the living quarters, as Mister Maxwell has been caught taking the packages left by the footmen, intended household recipient. The nerve of Mister Maxwell to take for himself what was not his to have, easily duping the flimsy security of the edifice, which this author must admit is a fact most concerning. The true recipient of the packages, one Miss Fletcher, now demands justice be brought upon Mister Maxwell, as well as getting much deserved funds for reparation from him.
It has reached my ears that Lady Cosgrove has been enthralled in scandal, as her and Lady Penwood have been swooning over their professor. Esteemed Ladies of the ton, to talk with such openness about such undignified matters, were caught by the professor himself. This gentleman has been most gracious about the situation and has chosen to turn a blind eye, not wanting to be involved in the Ladies most unprofessional pursuits. One must wonder why these Ladies decided to conduct themselves publicly in such a way, to fall so far for a friendly smile and a helpful demeanour.
Then there is the most sordid tale of deception, as one Miss Fortescue has been pretending for almost a year that she had graduated from her program, when she, in fact had not. While telling her entourage that she was celebrating her supposed academic achievement with some time off, Miss Fortescue has been in truth, retaking her failed classes, all whilst not showing face in our Belval establishment.
I must send felicitations to every Lord or Lady in their last year, as they are finishing their illustrious theses. As each one makes haste in this end of April to finish their significant work, I must wish them good fortune in their endeavours, as they prepare for their long-awaited day of graduation, bringing this sweet chapter at the university to an end.
Most endings, however, bring about new beginnings, moving on to further studies or start their careers in their field of inclination. To all, I send my congratulations as they embark on a new journey.
Yours Truly,
Lady Rouxly
ANNA KareninaMultimedia Analysis of
The past six months o� my li�e have been held captive by Leo Tolstoy’s Anna Karenina Written in 1878, recommended to me by my brother in September 2024, and �inally �inished by me in January 2025 (all equally important dates in the book’s li�etime), Anna Karenina surprised me in every way anything could ever surprise someone. First thing that must be made clear is that I am not a reader.
It is a habit that I have �ailed to pick up numerous times since all my primary school girl �riends were binge-reading Percy Jackson and I was making �un o� them and calling them names, such as, but not limited to: nerd, �our-eyes, �art-�ace, and other sophisticated monikers one might call another; however, with what I could only recognize as divine intervention, in an uphill battle resembling the likes o� David and Goliath, I bested this nine-hundred page behemoth.
Since I �inished the book, I have been in limbo. Although very hungry �or commentary by people wiser than mysel�, I did not dare search online anything about this book, and instead reserved only the right to talk to my �riend whom I recommended the book to, back when I �irst started reading it. It �elt dirty, to sanitize and �ilter my vision through someone else’s understanding or decades o� literary analysis done by the greatest o� academics. No; as always, I read it best, and all other opinions are �eeble.
All good adaptations are alike each bad adaptation is bad in its own way.
A�ter �ully digesting the source material and meditating on it, I had the great pleasure o� seeing its movie adaptation �rom 1935 at the Cinémathèque. To be honest, looking at the year it was made in, I had low expectations. To be even more honest, they actually could not have been higher.
I walked out o� the theatre satisfied. Some o� my expectations were met, some were not. Overall, I got a surprising amount o� juice out o� a ninety year-old lemon. On the way back, all I could think about was: “I wonder what the 2012 adaptation looks like.” I had heard �rom my brother that it was good, and so, I watched it.
A�ter zealously consuming two (o� embarrassingly many) movie adaptations o� the undisputed greatest piece o� media I have ever experienced, I humbly present to you my take on Anna Karenina and its movie adaptations, which no one asked �or.
Two sides of Anna Karenina
It would be silly to ask, “Who is the main character o� Anna Karenina?”. Well, Anna, obviously. Well, not that obvious, maybe you didn’t read it, right? I am at a crossroad here. I could either give enough o� a summary to the reader so that they are caught up, absolutely butchering the book in the process, or, simply, ignore the elephant in the room. Let me think. Yes. I will go with the latter.
Although the de jure main character is Anna, through reasons most trivial, I personally �ind Levin to be the true main character, in a more traditional sense. The arc o� Konstantin Dmitrievich Levin – whose name is mentioned more times than Anna’s – is the per�ect depiction o� the hero’s journey: he �ights his demons and bears responsibility �or everything in his li�e; whereas Anna is in a constant state o� peril and on a downward trajectory through her actions to give her li�e meaning, almost always at the expense o� others.
1
Where
Levin’s response to shame is Anna’s is
“For the next two - hundred pages, I’m going to talk about how to improve the state of ussian farming and the peasantry” , “Let me abandon my child and run away with my lover.”
Although this sentence draws a very biased picture, nothing is, o� course, black and white. Levin has di��erent options to shake o�� his depression, and has a �ree �uture, where Anna doesn’t really have any way out o� her unhappy li�e, and can only �ight her way out. I� anything, Anna’s a��air and subsequent escape with Count Vronsky is the more understandable, more realistic response to the predicament she is stuck in, compared to Levin’s stoic decision to run away �rom high-society without looking back and go to the country to be alone, �arm, and dedicate himsel� to a higher purpose.
Konstantin Dmitrievich Levin
Let’s talk more about Levin.
My
pookie,
my king, my sunshine.
The ultimate literally me character. Who else would one want to be but Levin, the heartbroken and naive countryman who gets rejected so hard by his sweetheart that he starts to over analyse every little detail in the universe: �rom his emotions, to the economic state o� Russia, the work ethics o� the peasantry, and even, I am not kidding, the technical approaches one should take to yield more crops �rom �arming. Yes, in Tolstoy’s nine-hundred page romance-drama, we actually spend a solid hundred-�i�ty pages with Levin’s monologues about �arming. It is not even a metaphor, he is literally just �arming.
1
Source: my �riend’s Python script
But that’s kind o� the point. By putting all o� his mind, body, and soul into a single, higher purpose, Levin covers a lot o� ground when it comes to his most important question: the meaning o� li�e. He learns how to work with people, tries his best to treat his workers as justly as he can; he tries to understand the needs o� the meek, addressing the �ormer, empowering the latter. The book is about happiness; namely, the components needed to make up a happy and healthy �amily. Levin’s journey o� building his �amily �rom nothing –�rom the rejection in the beginning to having his �irst son towards the end – is absolutely inseparable �rom Anna’s parallel story o� losing everything – �rom being the most beauti�ul and charming woman in St. Petersburg, being married to a success�ul statesman, and having her lovely son, Seryozha, whom she loves more than anything – �rom seemingly having everything one might want, to her chaotic descent into madness.
Perhaps it’is just too old?
Well, based on all this, Levin surely must hold a great place in both o� the movie adaptations, right? Right? Oh… Starting with the 1935 adaptation, look how they massacred my boy. They have reduced him into a little �ragile simp who looks ridiculous in the opening scenes, then we get a �ew more �i�teen-second scenes throughout the movie where we see the highlights o� his arc, and that’s it. Simply put, I was heartbroken, but it’s �ine, I will not slander a movie whose entire crew was dead long be�ore I was even born. When it comes to the other characters, I didn't really like the depiction o� most o� them, except �or Karenin, who was actually quite good but a little too villainous. Stiva was made too old and reduced to a comedic relie� tool –
although a �airly good one.
Vronsky was depicted terribly overall, especially with his “drinking with the comrades” scene in the beginning, which was very entertaining, but simply not accurate. Other remarks about this one: its humour held up surprisingly well, there is solid cinematography in some scenes, but overall, it seems like they didn’t really know how to set up a scene back then. My �riends, whom I saw the movie with, did not get a �ew o� the scenes as there was absolutely no setup �or them. The time constraint was clearly the biggest obstacle, there is way too much cut content here, Anna doesn’t even get sick… Overall, it was enjoyable, as I crave , and it was still liked by my �riends too, but still a suboptimal adaptation that misses pretty much the whole point o� the novel.
Form over substance
Parting Words
This 2012 British adaptation is really special. The movie takes place in a theatre, where the scenes are literally on a stage. Back-to-back scenes are delicately woven into each other, seemingly coexisting in the same space, at the same time.
The movie is hal�-an-hour longer than the 1935 adaptation, and it uses its total time very well, giving us more Anna than its predecessor, while also giving a very signi�icant amount o� Levin action. We see almost all the main plots, with ample time allocated �or each o� them too. I don’t quite understand how they packed so much in there, but they did. We even see Levin mowing the �ields with the other muzhiks. Absolute cinema. Some side quest-esque arcs �rom the book are cut, such as Anna and Vronsky’s own country li�estyle which parallels the one o� Levin and Kitty. Although this arc does not �urther the plot, it does a great job o� showing how these two couples are living similar li�estyles but could not be more di��erent �rom each other; �urther emphasising the idea o� how true happiness is attained. Levin is happy because he invested in himsel� and his people, while Anna is unhappy because she is chasing her happiness, thinking grass is greener on the other side.
The movies, due to their time constraint, are cri led, unable to convey the true message o the book
Levin only grows so strong in the book because we witness his every step, at an excruciatingly slow pace. Movies, obviously, cannot do this. A true movie adaptation, in my opinion, could only be made in a series as slow as a Vince Gilligan production. But we don’t need a movie adaptation, the book is per�ect, just go read it.
nbyUmut Ucak &de
The adaptation tackles a very unique �orm o� story-telling, then tries its best to stay loyal to the original material –which it can �it into two hours. The choice �or form over substance makes this project �eel less like a re-imagination, and more like a love letter, which I value. All characters are portrayed much more accurately, especially Jude Law’s Karenin, whose magnanimity is beauti�ully captured. Even i� some arcs are cut, I can’t imagine a more packed Anna Karenina movie adaptation, while being as charming as this one. Be that as it may, we do not spend lots o� intimate alone time with these characters, unlike in the book, thus we can’t get the clear look into their minds which we could with Tolstoy’s work, harming the underlying message o� the book. The movie �eels like a �ast-paced romance-drama, kind o� missing the point o� the pursuit and understanding o� happiness. Unless you know the original work, then you’ll see Levin’s arc in almost all steps.
Eulogy for A.
my sweet friend
I remember you sun-tanned the son and heir of Ukraine’s southern lands a terribly tall man you used to send me books that made you think of me I sent you my art — one canvas still unfinished rests in my apartment in Kyiv for the fourth year last time we met we went to the cinema, and I had to leave early I left again there was a kind of tragic symmetry when the fire began I was at home and I ran cowardly saving the life I thought I owed to my kin while you being safe outside rushed to get in I heard that they were seizing your mother you followed where the hungry fires went
I grew my hair long, changed my language and my name and it seemed that I’d forgotten but in truth I was ashamed still am I had only wanted for all of this to be over now it is, but not for me
“everything in its right place” you said then now you’re remembered as a tall and handsome man with destiny that is noblest of them all (although it came with a sharp blade and no good luck) to run and hide and spare one’s life would have been unbecoming of a Cossack free men of your rank tend to prefer to face their death raised up over a lifetime kneeling and I know that war means courage and an awful lot of killing let me remember you first as a man, then a mythical hero of whom they say “the best ones die”
the best ones die and when they do who comes in their stead ?
I’m afraid I can’t
my friend the earth you fought for swallowed you it had your living soul it had your body muddy— I wasn’t there and I don’t know but I hope it was worth it
I wasn’t there as well when you were buried far from home and yet still home on the Fields of Mars in Lviv oh how I wish you lived to see the empires burning take back home they stolen from us come to collect the debt they owe but I don’t even know if any of us live long enough for that yet when the war is over I will think of you see you camping on the island of Corsica like we talked about daydreaming swimming with fishes in the azure waters after dusk dwelling softly in wilderness with the girl you love
by Kristina Shatokhina in memory of Andrii Nechyporenko (1995 – 2025)
