ROUX - Issue 22, May 2025

ROUX Student Magazine EST 2022 Issue 22, 30th May 2025 Luxembourg Print run: 560 copies Chief Editor: Perry the Platypus

Contents

2

6

8

Exam Period Survival

Party Girl (1995)

L’Art Soignant

For Dummies

Movie Review

An Interview

A guide

11

12

14

16

Delusions of Purity

ABRACADABROUX

Untitled and Unforgotten

The Last of Us: Part II

Poem

Poster

A short story and a sonnet

Game review

20

22

24

Change

Au hazard Balthazar

Hey, Where’s Perry?

A poem

Movie Review

Summer spots handbook

Starring: Alexandra IONITA – im having a picnic Daniel SCHENKELS – space jesus but a mad mage Dorian SOUSA CALVO – gets shampoo in his eyes too frequently Hugo NAZAC – average Jean-Luc Godard enjoyer Jacopo MOGLIA – chief contemplative officer Kristina SHATOKHINA – woman of vision; high priestess Lina SCARPA - I like cats Margaryta ALEKSANDROVA – the witch Mégane BAUTISTA – vermillion virtuoso Nael NASSAN – crazy cat reached Nirvana Sherley DE DEURWAERDER – goodbye and thx for all the fish Sofia MILLER – flying off via New Muldul Stefan CAPITANESCU – the tender bartender Stefan DIAC - sober philosopher Umut UCAK – rank II level 32 yapper Valère GAUBE – none of the things I did was ungrammatical Zoltan TAJTI – founding father; Maecenas of the online edition

Unless otherwise noted, all images in the magazine are public domain as described in the Creative Commons CC0-1.0 Universal Public Domain Dedication licence, and fall under no copyright obligations.

Direct all copyright claims to: paper.roux@gmail.com Find us at: campus buildings (reception areas, magazine stands), student lounges, chill-out-zones, Dalmat CoffeeHouse, and LLC. Join us! We are looking for graphic designers, writers, artists, photographers, reporters, administrators and all sorts of sailors willing to (wo)man the good ship ROUX! Contact us: paper.roux@gmail.com Find the magazine online: https://issuu.com/ rouxmagazine Instagram: @roux.magazine

We are thankful to: Ramona Ventimiglia and the Office of Student Life, Veerle Waterplas, Margaly Monelus, Sonja Di Renzo, Antonio Tavan, the Repro Team, Espace Cultures, Anouk Wies, Karin Langumier, Alannah Meyrath, Bianca Pirrelli, Student Lounge Belval and all children of SAUL, Dalmat CoffeeHouse, Jolt Coffee Roasters, Julie Toussaint, and LLC.

Some pages designed using images from rawpixel. com Cover designed by Sofia Miller Poster p. 12–13 designed by Kristina Shatokhina ©ROUX Student Magazine. All rights reserved

Roux is partners with RTL Today

2

R OU X

Go Get More Bruises As the year is coming to an end, finals – and following it right behind, the summer break – are steadily approaching. I think this is as good a time as any to look back and evaluate, plan for the near future. I don’t mean asking questions like “how did school go?” or “did you up your grades?” Lame-o. I mean “how much time did I spend with friends and family?” While asking such questions about the past year, I reminisced about older summer breaks, like back in 2011, and made a profoundly sad discovery. I don’t have any scars or bruises. I haven’t really sprinted in a while, haven’t raced anyone. I haven't climbed onto anything, and subsequently fallen off of anything either. Looking around me, I don’t spot a lot of scars and bruises either, which I interpret as our solidarity in growing up. As we grow older, we learn and adopt new things and habits, we mature, leaving the childish habits behind. But we don’t have to wipe the slate clean, we can hold onto the good stuff. So, as Roux, we are prescribing all our beautiful readers the following for the summer: Go climb some shit and then jump down, but don’t safely climb down, tuck-and-roll! Play dodgeball with your friends and smack them as hard as you can, it is probably the most fun game ever created. Do you even know how fast you can run nowadays? One way to find out.

Yet, even as we bestow upon you these whimsical quests, we will be entering a bittersweet summer as the Roux team… A founding member, a day-one, the curator of this great front cover currently in your hands and of countless articles and illustrations we all love, our dear president Sofi will be taking a break from her run of over two years with the magazine. Her invitation, encouragement, and friendship being the sole reason why I myself joined the magazine, I cannot quantify my appreciation for her with mere words on paper, and I’m not alone with this sentiment.

We will all miss her energy in the meetings and outings, her creative juices flowing through our pages, and simply her presence in Roux. We love you very much Sofi. For the fans of The Primordial Hylemxylem Entertainer, she isn’t even close to hanging up her gloves, her art journey is not at all over yet. We’re looking forward to what new shenanigans she’ll be up to next.

Thus, our delicate sunflowers, for the preparations of such a summer, we have compiled just the issue for you. First of all, to help you guys directly, we put together the ultimate exam survival guide so you know exactly how to tackle them. And once you aced everything, you can check out our top picks for Luxembourgish summer activities. Other than that, you know the drill: we’re talking poetry, our very own Tarantino-esque short story, cool and cinephile movie reviews, a game review that haunts me, and a leo-coded interview.

So what are you waiting for? Go get more bruises, collect them like badges and wear them as proudly as you did 15 years ago.

Written by Umut Ucak

1

A GUIDE

by o you t t h broug TEAM ROUX by r igned & des aerde w r u e D ey De Sherl

es i m m u d r o f

If academic success was a metaphor for interactions within the animal kingdom, I would say that the exam period is a dog-eat-dog world, and we’re very hungry – except for Sofi, she had fries on the way here. But for all the hungry puppers out there: we’ve got some hot tips for you.

Consider the following to be the bratwurst of academic advice, the grillwurst, even – mmmh, I’m gonna grab some for myself too.

2

R OU X

Product

ivity Tips

Personally, what I recommend is kind of basic: First, delete or avoid any distractions. Then, try to sleep as much as you need so the information doesn’t overflow and you have a clear mind. What I also do is have a little break where I do something I enjoy after a long revision so I don’t crash out. I know this one is tough but try to not procrastinate too much, get straight to the point: sometimes eight hours of study can be summarised into two or three hours.

There’s a lot of techniques to avoid procrastination – for example, telling yourself you’ll study only five minutes to get into the “study zone” or focus on one object before starting to study… Don’t compare yourself to others. It depends on the people, but sometimes it can be demotivating and cause stress: and everyone works differently, so if you don’t study like the others, that’s okay!

Moreover, I don’t like jumping between subjects.

If I have a maths exam in two days, I focus solely on that and not the other courses.

- Lina

e h t t e S ce n a i b am Personally, I think the right ambience is the key to attracting inspiration. You need to get in the mood, to find a way to somehow romanticise what you’re doing – that will make work feel less like work and more like play.

Imagine yourself as a medieval monk or a nun copying an ancient manuscript, a knight on a quest for lost wisdom, an alchemist in a noble pursuit of turning metals into gold, a witch perfecting her favourite potion... The many ambience videos on YouTube will help you achieve the desired mood. I am an absolute fan of Skyrim soundtrack ambience (and I haven’t even played the game), as well as these 10-hour videos with unhinged titles like “Crusaders Chanting in the Heart of Winter”, “Breathe in the ruins, Squire”, “Playlist to study like a medieval philosopher having the truth revealed by divine grace”, etc.

- Kristina

3

!!!

A GUIDE

iM

E!

As someone that sleeps either four or twelve hours, I have a special relation with sleeping. However, having a good sleep schedule is primordial for success. Setting up a consistent bedtime (around 10-11pm to have a stable circadian cycle) and sleep around 7 to 8.5 hours per day is recommended.

By having a consistent bedtime and enough sleep, the previously-learnt information stored in your short term memory will be transferred and encoded by your long term memory. A good night’s sleep also gives you the motivation to study for the next day (YIPPIE)!! However, I do not suggest pulling an all-nighter.

You'll be wrecked during the exam and your brain will feel like mashed potatoes.

If you sacrifice sleep, sleep will sacrifice you.

iT'S B

T D E

- Hugo

NE O T S U J IT's FeE f O C E R O M Before starting, let me state that during the semester I’m quite busy and need to decompress from the hard work. I have always proceeded as such: if there is no assignment, midterm or project due for a class, I don’t even look at it. Do you study daily? I do NOT doubt my capacity to study at the very last minute.

Now, how do I proceed during the exam period? First of all, I cut all distractions.

By that I mean mentally cutting them, I obviously won’t uninstall every app etc., but I still will make sure not to overdo them. Secondly, now that I’m free from other responsibilities, I finally make time for light exercise like walks… c’mon, I’m coming from a near-vegetative state and you expect me to work out???

My final strategy to pass exams: responsibly abuse caffeine. I don’t care if I’m yawning constantly after exams: as long as my brain stays alert when needed, everything is good. For obvious reasons this is made by a professional, please do not reproduce! Thankieeees :))

- Stefan

4

R OU X

unhinged hacks are g for exams in y d u t s r an My tips fo ally, I drink ic s a B … e m quite extre hen I sit at T r. te a w f o unt h my absurd amo rced to finis fo , y d u t s d to my desk an adly I need b w o h r te t a 'd studies no m also Pavlov I . m o ro h t self use the ba getting my y b g in rk o w myself into each study g in t le p m fter co ? a lil’ treat a a big essay te ri w to e av nd section. I h tay awake a s to t h ig n I choose a wing ull, not allo B d e R in n fully drow ep until I am le s to o g myself to e… adistic of m s ly ru t : d e finish

- Alex

TRAVEL !! ! ! ! ! ! !!! ! ! ! ! ! ! !!!! !! ! ! ! ! ! !!! !! ! ! ! ! ! !!

our n packing y a e m ’t n o d And no, I g away from in n n ru d n bags a n changing a e m I . s m r exa estly problems o nt. I’m hon e m n o ir v n e ’t your study ature. I can n y b n o rs e ss p just a restle than ask for more t e n o n o s focu utes... fifteen min migrate…

So I travel… u wish.) (call it as yo How? om. Then I ro y m in g yin I start stud resh air and F ( … y n o e balc t move to th ater, I migh L . ) a d a y a all that, yad or the bed. … k s e d e h t study at p *falls aslee

- Margaryta

5

MOVIE REVIEW

I once went on a date with a guy I met at a concert in Rotondes. We were having a drink when he complimented my leather coat, saying something about me being fashionable.

“It’s my mom’s, actually,” I replied truthfully.

“She bought it second-hand in the late '90s, before I was even born. It was already vintage back then.

Isn’t that so cool? God, I love the ’90s!”

His face turned sour. He launched into a rant about how aCtUaLLy bEiNg BoRn aNd LiViNg iN tHe NiNeTiEs (bro you were born like in 1996, huh?) made it hard for him to understand why younger people romanticize the era. At the time, I didn’t quite know what to say, other than to mention that most of the music I listen to is from that decade.

Time flew, seasons changed. I never saw him again.

Then, the other day, riding the high from our student party’s success, I rewatched one of my ultimate ’90s comfort films, Party Girl, and suddenly it clicked: What is Party Girl if not a 90-minute video essay on why we love the ’90s?

And maybe - just maybe! - what is my love for ROUX parties if not a semi-conscious attempt to reclaim or recreate the kind of fun that feels like it was stolen from our generation?

So, ladies and thems, allow me to present a humble review of a film that, while funny and chic, also happens to be a perfect companion for exam season procrastination.

mtheeet

Party G (1995) dir.

Daisy von Scherler Mayer

Mary, a socialite and quintessential party girl, gets arrested for organizing an illegal rave. Her godmother agrees to bail her out - but only on the condition that she starts working at the public library. At first, Mary resists. But over time, something unexpected happens: she begins to fall in love with the order, logic, and drama of the magnificent realm over which the librarian presides.

6

R OU X

“I think I am an existentialist, I do,” Mary utters after her love interest, Mustafa (a falafel shop owner and a teacher refugee) initiates her into Camus’ interpretation of Sisyphus. In many ways, Mary herself is undergoing a coming-of-age existential crisis. She struggles to reconcile two conflicting versions of herself: the selfish, careless party girl, and the vulnerable, compassionate orphan who cares deeply for her loved ones. The pendulum swings as her choices shift how those around her perceive and treat her, often misinterpreting her actions and projecting their own insecurities onto her.

Amid the chaos of early adulthood, the library classification system (yes, the same one used at LLC!) becomes a metaphor for making sense of life and taking charge. Mary starts small, organising the library’s new arrivals. Then she moves on to curate her friend the DJ’s record collection. And when we watch her orchestrating a party, it becomes strikingly clear that both work and partying demand a similar skill set: coordination, attention to detail, a certain rhythm, and, preferably, some glamour.

As a 2000s child (like moi), you might find Party Girl nostalgic obviously not in the “I miss this because I lived it” kind of way, but in the deeply-felt longing for a simple fun we never quite had kind of way.

The film invites you into a version of ’90s New York where you could: > live in a loft in Manhattan while being broke, > dance in a club where everyone is dressed cool af, > become wildly passionate about the Dewey Decimal System.

(And somehow, all of it makes perfect sense.)

An ‘it girl’ of ‘90s indie cinema, Parker Posey is everything in this movie. Her character’s style -- a chaotic lovechild of Posey herself and wardrobe designer Michael Clancy -- is peak ‘90s fashion. I love the fact that its creation was somewhat organic and a lot of design decisions were left to chance -- some clothing pieces were borrowed from friends, others from then-rising designers like Todd Oldham.

Shot in just 19 days on a shoestring budget, Party Girl has that raw, endearing sheen that only true low-budget indies can deliver. One reviewer called it "too cheap to be a major release" and "too predictable and ‘Hollywood’ to be an indie” -- and honestly, I think that’s what makes it so special. This balance between polish and mess, between mainstream and underground, gives the film its unique, offbeat mood. The plot wanders off in an unpredictable succession of half-assed jokes, sexy club scenes, hungover library montages, awkward shower scenes -- but that’s the point. Life, like Mary’s story, often unfolds into a messy, glittery collage of chance encounters, minor humiliations, and unexpected passions.

So if you’re into parties, libraries, or just find yourself missing the ‘90s with an inexplicable kind of longing, this one’s for you.

By Kristina Shatokhina

Girl

7

INTERVIEW

L’ART soigna Chers Caladrii, Vous êtes-vous jamais sentis à ce point submergés que rien que de penser, ou même de parler, vous semblait impossible ? Connaissezvous cette impression, quand le poids des nouvelles et de l’injustice vous presse de toutes parts, au point qu’on dirait qu’il essaie de vous effacer ?

Et puis, vous entrez dans une galerie d’art… et vous tombez sur quelque chose de totalement inattendu : votre guérison.

C’est ce qui m’est arrivé.

Walid El Masri est diplômé de la Faculté des BeauxArts de Damas. Les œuvres de Walid El Masri ont fait l’objet de nombreuses expositions individuelles à Londres, en Jordanie, en Syrie, à Paris, au Liban, à Pékin, à Djeddah, à Hong Kong, en Égypte et dans les pays du Golfe. Il a participé également à des expositions collectives au Busan Museum of Art, en Corée du Sud (2014) ; à l’Institut du monde arabe, à Paris (2014 et 2018) ; au MUCEM, à Marseille (2014) ; à l’Institut des Cultures d’Islam, à Paris (2020) et à l’Ecole des Beaux-arts de Caen (2023). Entre 2014 et 2018, il a joué un rôle central dans les activités de La Caravane culturelle syrienne en participant à la programmation et à la réalisation de plus de 60 évènements culturels en Europe. En 2021, il fonde l’atelier des arts ARTWEM en France dans lequel il développe sa propre méthode d’enseignement artistique.

Il établit un second atelier au Luxembourg. El Masri contribue efficacement par son expérience et sa méthodologie au développement de l’éducation artistique,

8

culturelle et académique sur une base expérimentale. Walid El Masri a établi des partenariats avec des institutions culturelles, artistiques, sociales et éducatives au Luxembourg. Son travail est représenté par la galerie Ayyam (Londres, pays du Golfe, Liban, Syrie, Arabie saoudite) de 2007 à 2015, puis par les galeries Karim (Jordanie) à partir de 2016, et ARTBOOTH (Abu Dhabi, Emirats Arabes Unis) à partir de 2023.

En tant que créateur de la méthode ARTWEM, Walid a animé une série d’ateliers au Musée d’Art Moderne du Luxembourg (MUDAM), organisés en parallèle de l’exposition Peacock dans l’espace H₂O. Cet événement a marqué le lancement de Art to Share, un projet développé en collaboration avec l’association Douri et coordonné par Yusra Amounah.

Walid est également à l’origine de Storytelling Bloom, un projet mené avec des enfants, ainsi que de Empowering Creative Minds, une série d’ateliers créatifs organisés au Luxembourg, à Berlin, en Pologne et en Ukraine.

“L'art possède une valeur unique et nous offre la capacité d'exprimer la douleur de manière indirecte, sans aveu explicite, ce qui allège son poids sur l'âme et l'esprit. Il nous rend également capables de la partager avec les autres sans éprouver de honte ou la crainte de les accabler de nos souffrances personnelles. C'est précisément à partir de là que la douleur se transforme en quelque chose de grand, prenant sa place dans l'approfondissement et l'enrichissement de l'expérience humaine.”

– Walid El Masri

R OU X

ant

entretien avec Walid El Masri par Margaryta Aleksandrova

MA: Il est difficile de trouver l’inspiration ces temps-ci.

D’où puisez-vous votre force et votre créativité ?

WM: Mes sources sont le monde qui m'entoure et les profondeurs de ma mémoire. Leur interaction permet à mes œuvres de gagner en liberté et d'explorer des dimensions supplémentaires.

MA: Les mots, pour vous, sont comme des paons : pourquoi des paons, exactement ? Comment sont-ils apparus ? Vous souvenez-vous de la naissance du tout premier ?

WM: J'ai toujours aimé cette créature, sans jamais imaginer qu'elle figurerait un jour sur l'une de mes toiles. Fin 2017 marqua ma première interruption de trois mois dans la peinture, suite à l'annonce de l'enlèvement puis du décès de mon père, victime de la guerre en Syrie. Durant cette interruption, je restais dans mon atelier du matin au soir, immobile, absorbé dans mes pensées. Et un jour, sans aucune planification préalable, je me suis retrouvé à peindre un grand paon blanc, auréolé d'un noir profond. Le paon apparaissait majestueux, d'un blanc éclatant rehaussé de quelques touches d'or, comme sculpté au sein d'une épaisse couche d'obscurité au centre de la toile. Sa tête était inclinée vers le bas avec une grande humilité, et j'ai senti sa présence à mes côtés dans cette épreuve. À cette période, ce paon a remué la pesanteur dans mon atelier et en moi. Dès lors, le paon m'a permis de penser à mon père. Et après un long travail et une profonde immersion dans sa représentation, il a commencé à prendre des dimensions contemplatives et a provoqué en moi une quête intérieure, une recherche de soi et une méditation sur le sens de l'existence. Finalement, il semblait refléter tout ce que je voyais, c'est-à-dire qu'il était le reflet de tout ce qui se passait en moi.

MA: Parmi tous vos paons, en est-il un que vous préférez ? Que leur advient-il une fois qu’ils vous ont quitté ?

WM: Chaque paon que je peins est constitué de multiples couches de peinture. Souvent, ma relation avec ces couches est plus profonde qu'avec le résultat final. Pour moi, ces couches incarnent la recherche dans ma mémoire, et elles sont en même temps la mémoire du tableau lui-même. C'est pourquoi mon interaction avec toutes les œuvres est variable, car elles représentent une mémoire étendue et partagée.

Souvent, le désir ardent de revoir ces œuvres me saisit, car elles sont devenues une partie intégrante de ma mémoire.

MA: Tout a commencé avec un paon ; puis, un autre a surgi d’un miroir. Pourriez-vous nous raconter l’histoire de ce deuxième paon?

WM: Oui, c'est une observation perspicace. Au début, le paon était une figure solitaire, ce qui représentait pour moi un voyage de recherche de soi. Puis, le miroir est apparu, que je vois comme un reflet de son existence. Cela me rappelle la profonde conception soufie selon laquelle notre perfection recherchée n'est qu'une image réfléchie de nous-mêmes. L'apparition de ce miroir a pu laisser penser que le paon avait atteint, à travers lui, une compréhension plus profonde de lui-même, comme s'il commençait à découvrir sa propre vérité à travers cette épiphanie, réalisant ainsi sa complétude intrinsèque.

9

INTERVIEW

MA: Les paons se regardent dans le miroir comme s’ils y cherchaient quelque chose, – leur propre beauté, peut-être. Mais il s’en dégage en même temps une certaine tristesse, comme si la beauté, à l’instar du talent d’un artiste, n’était pas un don mais un fardeau. Qu’en pensez-vous ? La beauté et le talent sont-ils des espèces de malédictions ? Les miroirs, que représentent-ils ?

WM: Ici, le miroir ne renvoie pas à une simple contemplation superficielle. Il suggère plutôt une quête intérieure, une introspection. Se mirant, le paon est en réalité engagé dans une profonde recherche de lui-même. Ce miroir devient alors une métaphore de nos propres reflets dans l'existence et dans nos âmes. L'art, en ce sens, agit comme ce miroir, nous offrant un écho de nos propres intériorités. Quant à la “malédiction”, elle réside dans les épreuves et les difficultés que nous traversons. Si ces expériences douloureuses restent emprisonnées en nous, elles menacent de se muer en cicatrices indélébiles.

C'est là que l'art intervient comme un outil libérateur, permettant à ces souffrances de s'extérioriser et de se manifester sous des formes sublimées. Sous cet angle, l'art est indéniablement une grâce, un bienfait.

MA: Chaque paon est unique : leur couleur reflètet-elle leur caractère, votre propre état d’esprit à un moment donné, ou un simple choix esthétique ?

WM: Pour moi, le bleu symbolise la profondeur et l'immensité de l'univers. Le noir incarne le réceptacle fondamental de l'existence et représente aussi l'inconnu dans lequel le paon évolue. Quant aux autres couleurs, elles sont apparues avec une spontanéité exploratoire, comme une résonance de ces couleurs sur le paon. Finalement, il n'y a pas de significations directes au sens strict du terme, mais plutôt des impressions qui émanent de mon intérieur.

MA: Vos paons ont le don de guérir les gens. Ils donnent la parole à des beautés et des sujets qu’on peine souvent à exprimer avec éloquence. Parlent-ils de choses pour lesquelles les mots vous manquent à vous aussi ?

WM: Votre observation me touche profondément.

Cela confirme la force et la magie que possède l'art, transcendant les limites des mots et de l'expression explicite. Les dépassant pour atteindre des profondeurs qui touchent l'âme humaine, il s'y insinue avec délicatesse et sérénité, formant ainsi un langage noble que nous partageons, lequel confère à notre existence des dimensions supplémentaires. designed by Kristina Shatokhina proofread by Valère Gaube and all French-speaking members

10

R OU X

11

12

R OU X

13

A SHORT STORY AND A SONNET

14

R OU X

15

GAME REVIEW

16

R OU X

17

GAME REVIEW

18

R OU X

19

A POEM

20

R OU X

21

MOVIE REVIEW

Reflection of the human condition seen by a donkey written by Hugo Nazac & designed by Sherley De Deurwaerder

Au hasard Balthazar is a French movie released in 1966 and directed by Robert Bresson – a French director also known for A Man Escaped (1956) and Pickpocket (1959).

Before talking about the movie, I find it important to first consider Bresson's view of cinema and the way he works. In his book Notes on the Cinematographer, he explains the difference between cinematography and cinema. For him, cinematography is writing with images in movement and with sounds, while a movie is just photographed theatre. Additionally, the image transforms in relation with other images, and I quote: “A blue is not the same blue beside a green, a yellow, a red. No art without transformation”. That is why he wants his images to be insignificant whenever you look at them individually, without context. In other words, if you look at an image, and it evokes some kind of feeling or interpretation, it will not transform when placed alongside others, losing the potential for new meaning. Thus, the other images won’t have any effect on that one image in that regard.

. son res tB

© 19 66 Rob er

Reserved. ights All R

22

R OU X

Having established his vision of cinematography, his vision goes beyond, excluding actors out of his cinema, as he thinks that actors are just meant to mimic feelings, gestures, and a specific tone of voice. To overcome the problem of soulless and insignificant acting, he uses what he calls “models”. They are people who never performed in theatre or cinema with no prior experience and entirely non-professional. This way, he finds a certain purity in those models. He considers them uncorrupted by acting techniques.

In Au hasard Balthazar, the idea of the model is intensified, as the eponymous character of the movie is a donkey called Balthazar. By doing so, it becomes the ultimate model of Bresson’s view of cinema – an animal incapable of lying and fighting back. Suffering is shown with a purity that it is unique in cinema.

On the other hand, the model, Anne Wiazemsky, in her debut role as Marie, enhances the philosophical depth of Bresson’s human models. In my opinion, she perfectly embodies this purity and imperfect acting that Bresson considered essential for his cinematographic vision.

The two main characters of this movie, Balthazar and Marie, each suffer pure representations of real-life struggles. We accompany the scape-goated donkey as he helplessly endures and witnesses the evils of the world. He bears humans’ brutality, jealousy, possession, and all the burdens of people's lives as they try to justify their actions by hatred and violence directed towards him. Marie, however, is the cause of her own suffering.

She is destined to succumb to evil, as her fate has already been decided from the beginning by falling in love with Gérard, a thug. Although she is always given the choice to save herself. She takes Gérard’s hand, and he drags her to hell.

Gérard can be interpreted as evil incarnate. He is everything detestable in a human — he lies, harms people and animals, abuses Marie physically and emotionally. He holds no morals and does whatever he pleases.

As Gérard abandons Balthazar, we get introduced to Arnold. This is a tragic character, as we can see from his personality; torn between grace and alcoholism. By following the path of redemption, he rescues Balthazar and vows to God hereby, abandoning his drinking habit.

Yet, he breaks the vows by drinking more alcohol with a shaking grip, betraying himself. In a drunken rage, he chases Balthazar and hits him with a wooden chair.

Despite his unintentional act, he has good intentions.

Au hasard Balthazar isn’t merely a movie about a donkey living its life and walking around. It is a movie about the existentialism of individuals in a world corrupted by hatred and violence, where fate will always catch up with you.

As Godard said of Robert Bresson: “He is the French cinema, as Dostoevsky is the Russian novel and Mozart is German music”.

23

MOVIE REVIEW

sum me r vac ati on and sch ool com es Th ere 's a hun dre d and fou r day s of ble m for our gen era tio n is fin din g a alo ng jus t to end it. So the ann ual pro pro ble m we’ ve alw ays had in our goo d wa y to spe nd it. It’s the sam e int ro to Phi nea s and Fer b – the s wa s thi , yes and – ood chi ldh e gat hered som e thi ngs to do lik e: non eth ele ss, our bri ght est me mb ers hav Esch-sur-Sûre Lake On April 29th, God smiled upon Luxembourg and gave us sunny weather with 25 degrees on a random Tuesday, which I greedily took. Capitalizing on this sudden change, I rapidly put on my swimming suit and packed my bag with liquid courage (wine), a baguette, cheese, and ham (the four primary elements).

I (proudly) passenger princessed all the way to Leifreg Plage. I had heard rumours of this place but had no idea where it was. I am now on the other side, and the sun shines bright. Like the benevolent god I am, I now bestow this sacred knowledge upon thee whomst aren’t awareth.

What followed was a series of actions caused by my vitamin D-induced delirium. I swam in the ice-cold lake twice until I couldn’t feel my toes or shoulders, both times. No regrets. Amongst many others, I was the only idiot swimming. I also got a really mean sunburn on the back of my legs ‘cause you know, your king was tanning. Crazy amirite? Tanning in Luxembourg? If you are a peasant like I myself were once, go check out that place. But I heard it’s literally impossible to find a space there in summer so good luck lmao.

- Umut BBQ My favourite summer activity is to have a nice barbeque with friends. Fortunately, I have a grill in my backyard, but if you don’t have one, don’t worry! You can still gather up your posse and go to many of the public grills made available to everyone around parks (Kockelscheuer), lakes (Echternach) and forest trails (Mullerthal) of Luxembourg! Just be aware of regulations, to only make a fire in the designated areas!

- Alexandra

Parc Merveilleux: Rte de Mondorf, 3260 Bettembourg If you’re ever feeling down and want to go outside, do some activities during the summer, I recommend this park. I think for me and a lot of people it’s a “childhood park”, I only have good memories of it. You can see different silly statues, have picnics, go on the swings, go with your friends or family but most importantly, feed all the cute little animals. Plus, contrary to some zoos, the animals seem to be in great health. Happy animals = happy you Downside: there’s a lot of kids since they have a lot of kid activities sorry - Lina

24

R OU X

Hill of the (Gallows) Roses Luxembourg is often referred to as “country of steel.”

Less commonly known, however, is its fuller epithet – the country of steel and roses, a phrase I first encountered in patriotic Luxembourgish songs of the 20th century. The songs mention “roses” again and again, almost obsessively.

Steel made sense; Luxembourg’s industrial legacy is self-evident. But the roses? That part puzzled me. Surely, there’s more to this floral national imagery than the nostalgic “Rose” butter stocked in local grocery stores.

A century old travel guide to Luxembourg offered a clue: it talks about beautiful rose gardens blooming in Esch-sur-Alzette, at the top of Gaalgebierg, the wooded hill that overlooks the town (did you know that the name itself means "hill of the gallows”, called so because it used to be a site of public execution in the 17th century?). Today, you’ll see no gallows but a French-style rose garden that exudes a mystic perfume of roses that remains even in August.

The Gaalgebierg Park is easily accessible via the Passerelle footbridge from Boulevard J.F. Kennedy, just minutes from the Esch train and bus stations. This space is nothing like the gritty, post-industrial Esch people expect. It’s enchanting. Elders read under trees, kids roam the playgrounds, couples linger by the fountain. In summer, open-air cinema sometimes lights up the warm evenings, and you can watch your favourite movie surrounded by the fragrant rose bushes – perfect romantic date location!

In a city shaped by steel factories and border tensions, Gaalgebierg is where softness survives. A steel town, sure; but also a town of roses.

- Kristina Worst Case Scenario: Go to Kinnekswiss The last few summers have been mainly a moment for me to take a break from this crazy academic run. So in the first place: take time. Exactly, take time for yourself, you deserve it. Do nothing all day, sunbathe (remember to put on sunscreen though!), listen to music, make some cold brew coffee, read a book (or essays in my case), enjoy a sorbet outside. But this only works for a few days before I get too restless and need to do something meaningful.

For instance, last summer, I decided to get in better shape and discovered the pleasures of walking endlessly for hours, finding new paths whether in the surroundings of my village or some specific routes I found online (which I definitely recommend as they're more reliable and can also be thematic!).

My 2022 summer was mainly a movie marathon, where I just stayed in my bed and watched two to four movies each day... I know, I sound like a total cinephile nerd. My 2023 summer was more about diving into essays, which opened my mind to fascinating subjects related to ecology and social ideas. That break was always the perfect moment to let ideas bloom and finally bring them to life thanks to all that free time.

But if you still haven't gotten any inspiration from this whole article, grab a few friends, pack some snacks and a small Bluetooth speaker, and go chill at Kinnekswiss in Luxembourg City – it always hits different!!!!

- Stefan C.

brought to you by ROUX team and designed by Lina Scarpa

25

26