Issuu

ROUX Student Magazine EST 2022 Issue 10, 21st December 2023 Luxembourg Print run: 515 copies

Chief Editor: Willy “Nutcracker” Wanka

Contents 2

Interview with

The best grompere-

The Making of Berlin

Cultural hotspots

Catherine Leglu

kichelcher in the land

Critique théâtrale

in Luxembourg

Vice-rector City stories

Christmas market review

Places to go, things to do...

What cinema

Centrefold Poster

It’s a jungle out there!

The Holdovers

taught us this year

“Be not afraid”,

Alexander McQueen’s

Sneak peek film review

Panorama of some

said the Christmas tree

fashion paradoxes

film releases

Small Town’s Charcoal

Ecce homo! / I’m here

Nothing can stop Ileana

Short Story

Poems

A fairy tale retold

Team: Auriane MÖCK – your friendly commie neighbour Cailan HARRIS – writer; stand-in for Howard Moon Eleni MOUZAKITI – writer; social media chief Elise LACOURT – barbie-pink clad popcorn guru Fabio CONCEIÇÃO – writer; cultural gentlemen Jacopo MOGLIA – writer; chief contemplative officer Jason BILLARD – post-medieval gleeman José FERNANDES MAIA – poster boy; Mr. Inker Upper Jo Yi HOON – feminine overseer; post-modern tease Kieran SALT – Mr. Roux from now on Kristina SHATOKHINA – woman of vision; high priestess Romane GELHAY – memes like a Pez dispenser Sofia MILLER – entertains the primordial Hylemxylem Valère GAUBE – homme à tout faire et n’importe quoi Yassine ZAOUCH – handsome Instagram Goblin Zoltan TAJTI – Eastern machinations Christian CUCU – guest writer We are thankful to: Ramona Ventimiglia and the Office of Student Life, Veerle Waterplas, Sonja Di Renzo, Antonio Tavan, Repro Team, Espace Cultures, Anouk Wies, Karin Langumier, Bianca Pirrelli, Andy Adams of the Alumni Network, Véronique Heitz and Rotondes, Student Lounge Belval and all children of SAUL, Dalmat CoffeeHouse, Julie Toussaint, LLC, Julie Jephos, Inès Planchenault, Melissa Dalton from RTL Today and Silvia from Café Saga. ROUX is thrilled to announce its partnership with RTL Today Radio.

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 and all sorts of sailors willing to man the good ship ROUX. Contact us: paper.roux@gmail.com Find the magazine online: https://issuu.com/rouxmagazine Instagram: @roux.magazine Some pages designed using images from rawpixel.com Cover hand-drawn by José Fernandes Maia Poster p. 14–15 hand-drawn by Jason Billard ©ROUX Student Magazine All rights reserved

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ROUXle Tide Traditions This piece contains no allegory. Season’s greetings, dear readers! As well as tidings of comfort and joy – if such tidings are at all possible these days – perhaps it’s better to offer hope and solidarity above all else? At the close of this first full year of ROUX, we entreat you to carry the dead wood of these pages into your homes in the spirit of Yuletide (though please refrain from burning it to usher in the new year). For unlike the firs and pines you might be so used to, mere paper cannot last the winter alone. In fact, why invite the evergreens inside this year at all? They’d be much happier out in the cold anyway. Bring in something deciduous and fleeting instead: an ash, an elm, or even better an olive tree – lord knows we need all the olive branches we can get these days. Leave the gaudy tinsel and lights in their boxes in the attic; instead, swaddle your tree in a scarf or two to keep it warm through the waning daylight. Forget the baubles too – after all, we are overturning tradition here; have yourselves and your guests dangle their keys about the Yule tree as thanks for your and their shelter, or to blur the metaphysical boundaries of inside and out, a threshold in the woods, it matters little. And as for the star atop, well that too must go… better something simple like a lampshade, and red for the hint of an established-foreign-soda-manufacturer-sponsored Christmas peeking through. After all, every new tradition has to cannibalise the old just a little. by Kieran Salt

V I C E - R E C T O R C I T Y S T O R I E S

A Vice Ain’t No CRIME Interview Concerning All Things Student

Catherine Léglu is our Vice-rector for academic affairs. You might have gotten emails from her through Moodle regarding course feedback, student delegation elections, and other matters related to life as a student of uni.lu. Prof. Léglu sat down with us to talk about the housing situation, the university as a safe and encouraging space for students, and why giving course feedback is a good idea.

Q: Thank you very much for doing this interview! Let us start with what’s fresh. Is there anything new cooking for students? The pleasure is mine, and yes: there is something new that concerns all students. We are constantly working on making students’ experience with uni. lu better. For this, it is vital that students are able to communicate their needs, observations and critiques about the university. Course feedback is one of the means our students can affect their surroundings. Unfortunately, only 28% of students usually fill out the course feedback questionnaires. To involve all students in shaping the teaching culture, we are making providing course feedback mandatory for bachelor and master students.

“We know it might look like a drastic change, but feedback from more students means the university will understand better if there is anything wrong (or right) with courses or professors.” 2

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Hearing students’ needs is very important; and not only regarding classes. It is also important that students have the opportunity to talk to someone if they face personal or professional challenges or if they feel excluded or discriminated against. To aid students flourishing as individuals, Umatter is a major section of the new uni.lu website. One of the important news is that the university website got a much-needed facelift! Umatter is dedicated to students’ well-being, mental health, peer support, and financial support, and it links to the support of social and cultural life.

“Well-being includes mental health, but also includes campus wellbeing. It includes whether you can belong, whether you have a community, whether the university is willing to take you seriously as a person.” Did you know for instance, that the rector has open office hours where students can directly talk to him and ask questions? Q: I actually did not know that! In my experience, a lot of students feel that the university – or more specifically Belval – is not a very nurturing environment in terms of wellbeing.

I have to say, I agree with the sentiment regarding Campus Belval, but only at first glance. Belval is a modern academic district and might seem unfriendly at first because of its purely contemporary architectural solutions. However, the campus offers a lot. Firstly, the infrastructure aiding academic life is state-of-the-art. The conference systems, the IT network and the LLC make studying a flawless and socially satisfying environment. Secondly, there are cafeterias and restaurants, and the Sunday opening of the LLC makes a big difference.

“To make the learning experience even better, we are now working on harmonising classroom slots and the needs of departments. This will result in course schedules that are more smooth for all students.” Also, there is an IT helpdesk on the MSA second floor, to provide support for any

V I C E - R E C T O R C I T Y S T O R I E S

problems regarding one’s university email inbox and registrations to all university online services. I encourage everyone to ask the helpdesk for help – they are very helpful and very hands-on. Finally, the Office of Student Life (OSL) is on Campus Belval, and they are doing a very good job in providing students with help and resources if they want to be active in any way: culturally, athletically, or in any way students happen to think of. There are currently 15 student associations and 21 student clubs – and one can form an association and club for virtually anything (History, basketball, Bollywood dancing…). If you wish to be a part of such a community, feel free to join one. Or establish one with your friends.

“The more student initiatives, the better! OSL will help you during the process! They have new offices now, on the fifth floor in the SEVE. They are happy to welcome you anytime.” (You can find out about OSL in the 2023 September ROUX.)

Q: Apart from students being able to influence how they study and how they shape their cultural and social life, housing is also a very important aspect of wellbeing – and finding housing is very problematic for a lot of students, to say the least. That is a constant challenge for us. Before I talk about what we are working on now to make things easier for students, let us see the issue in numbers. There are currently around 6,000 students at uni.lu. Around a third of these students request for accommodation: this summer, over 900 students applied for housing, 195 of whom were on a waiting list by early October. This includes both EU and non-EU students.

“There are currently 1,000 units available as student housing, which can cover a bit more than half of what we would need.” This is obviously a problem, but the solution is unfortunately not only in the university’s hands. There are a few things happening at the moment regarding the issue.

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On the one hand, some 140 units will be built by non-university stakeholders next to the MSH building on Campus Belval – construction will start relatively soon. This is good news but will obviously not solve the issue completely. Other projects are under discussion, some are very promising. On the other hand, we are doing what we can to alleviate the situation. For instance, we introduced a limitation on how many times one can renew the lease – the limit is the number of semesters one’s programme lasts. This considerably helped in finding a place for students who are beginning or are mid-studies. We are also working on ways to balance who gets placed in a housing unit according to nationality, gender, on which campus one studies and based on one’s budget limitations. Plus, we take into consideration if one has a child to live with and to take care of during their studies.

Q: Hopefully more accommodation units will be established in the future – on all campuses, not just Belval. Would you like to add any closing remarks, or a message to the students? Let us hope for the best. There are developments on the way, but these things tend to happen very slowly. In the meantime, I encourage students to join and establish groups, clubs, and associations to take initiative and to take advantage of OSL and what the campuses can offer. Also, visit the rector in his office hours – he will be there to listen! by Zoltan Tajti Photo credit: © Université du Luxembourg; photo by Mike Zenari.

We work hard towards making the best of our existing resources, with an existing time pressure: lease contracts are for six months.

C H R I S T M A S M ARKET REVIEW

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S C R I T I Q U E T H E A T R A L E

The Making of Berlin

photo © Koen Broos

critique du spectacle par Valère Gaube

Il y a des faussetés déguisées qui représentent si bien la vérité que ce serait mal juger que de ne s’y pas laisser tromper. – La Rochefoucauld La compagnie théâtrale BERLIN présente The Making of Berlin (2022), documentaire urbain où se mêlent non seulement cinéma, jeu scénique et musique en direct, mais aussi vérité et fiction, comme un défi lancé aux codes du genre. Je reviens ici sur la représentation donnée aux Rotondes le 17 novembre dernier. The Making of Berlin dresse le portrait de la capitale allemande à travers le récit de l’un de ses habitants, le vieillard Friedrich Mohr, dont la destinée singulière s’insère dans le malheur commun et les convulsions de l’histoire de la ville. Ce dernier fut régisseur du prestigieux orchestre philharmonique de Berlin durant la Seconde Guerre mondiale. Lorsque, en 1945, la défaite allemande paraissait inévitable et la ville croulait sous les bombes, il voulut que l’orchestre, réparti pour sa sécurité en sept abris souterrains, jouât, en guise d’adieu, retransmis sur les ondes, le Crépuscule des dieux de Wagner. Le projet eût encore tenu de la gageure technique sous de meilleures conditions ; aussi dut-il, chimérique, rejoindre les débris de la ville abîmée. Pourtant, Mohr n’oublia pas ; et sa rencontre fortuite avec BERLIN est pour lui l’occasion enfin de réaliser son rêve, quatre-vingts ans regretté. The Making of Berlin alterne ainsi entretiens avec Mohr et

enregistrements des « coulisses » du projet, lesquels montrent la troupe œuvrant à réaliser l’opéra de bunker : ses délibérations, ses démarches, ses doutes. Cependant se font jour des incohérences dans le récit de Mohr : tel événement semble avoir été affabulé, telle pièce à conviction, contrefaite ; au point que l’on en vient à se demander, à l’instar de la troupe, s’il est rien de vrai dans cette histoire. Friedrich Mohr personnifie Berlin : à travers lui, nous sentons l’atmosphère particulière, voyons la coulpe et les balafres historiques d’une ville tournée vers l’avenir parce qu’au passé condamné, écartelée entre devoir de mémoire et désir d’oublier, qui sont tous deux des besoins vitaux. Avant qu’on ne commence à douter de son témoignage, le documentaire consigne fidèlement ses souvenirs du concert avorté. Surgissent à cette occasion des questions obsédantes sur l’insondable lâcheté du plus grand nombre et le courage sans borne de quelques-uns, comme à chaque fois qu’est évoquée la période du national-socialisme. Mohr fut un tiède, un de ces « non-courageux » qui ne furent ni encartés, ni résistants. Il accepta sans bruit que l’orchestre demeurât sous la main du ministère de la propagande et qu’en fussent expulsés les musiciens juifs, parmi lesquels il comptait des amis proches, trop content de n’être pas lui-même inquiété par les autorités. C’est qu’il coûte toujours à l’homme de se

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Il coûte toujours à l’homme de se redresser et de dire « non », au lieu que rien ne se trouve plus aisément qu’une raison suffisante d’obéir. redresser et de dire « non », au lieu que rien ne se trouve plus aisément qu’une raison suffisante d’obéir (« Nous vîmes les présages funestes ; mais nous voulions jouer de la musique, et rien d’autre. Lorsque nous sûmes clairement ce qu’ils annonçaient, il était trop tard. […] Avec le temps, les affronts se multipliant, l’envie vient souvent de quitter l’orchestre ; mais on reste assis. Un jour, on nous demanda de jouer pour l’anniversaire de Hitler. Je voulus me lever, refuser… mais nous avions alors avalé déjà tant de couleuvres... »). Pour ce qui est de la seconde moitié, où se révèlent toute l’astuce et l’artifice de la compagnie BERLIN, en tout dire ne tiendrait en ces pages, et le respect que j’ai par ailleurs pour ces artistes en tournée me retient, à l’heure, d’en trop divulguer ; aussi me contenterai-je ici seulement de quelques réflexions au sujet de l’irruption de la fiction dans le documentaire. L’on découvre, en effet, que Mohr ment. En connaître le pourquoi pourrait intéresser un psychanalyste ; ce qui préoccupe la troupe, c’est de savoir jusqu’où il a menti. Ils tournent, après tout, un documentaire, se proposent de conter une histoire vraie. La tentative d’un concert de bunker en 1945 a-t-elle jamais eu lieu ? Cette rupture du « pacte de confiance » entre BERLIN et Mohr se répercute sur celui établi entre spectacle et spectateur, incite celui-ci à s’interroger sur la nature de celui-là. Un documentaire prétend dire ce qui est, a réputation d’objectivité ; or il a lui-même sa partialité et ses lacunes, à cause qu’on ne peut pas tout dire, ni tout montrer : la caméra doit être pointée quelque part et le microphone, tenu à quelqu’un ; révéler certaines choses revient à en celer d’autres ; et l’on donne rarement des gages de son honnêteté sans quelque mise en scène. Il s’ensuit qu’un élément de fiction toujours s’ingère. The Making of Berlin joue de ce fait et demande jusqu’où l’on le peut pousser; si cela dénature forcément l’intention documentaire d’origine ; et jusqu’où chacun est prêt à croire une fable pour la seule raison qu’il la veut bien croire.

L’on est parmi ces questions comme au milieu d’une épaisse frondaison. Je ne trouve pas de mot plus propre à qualifier cette pièce qu’intelligente, – cette pièce est intelligente. On la sent pourpensée. Son idée structurante était, si l’on me passe l’expression, un vrai casse-gueule, lequel BERLIN a su adroitement manier, et non sans facétie, de sorte à éviter les écueils habituels de ce genre de narration-palinodie : une désagréable sensation de brouillon, qui déroute l’esprit sans autrement le nourrir. Je suis toutefois marri du trop peu d’exploitation fait du jeu scénique et de la musique en direct dans la mise en scène actuelle. Peut-être est-ce parti pris que cette retenue ; mais, au vu du talent avec lequel BERLIN les a par ailleurs incorporés au film, j’eusse aimé qu’ils en fissent davantage. Cette réserve mise à part, je crois convenant de saluer en cette pièce une brillante mise en œuvre d’un tour de force conceptuel.

PLACES TO GO, THINGS TO DO

Things to do in Luxembourg Cultural Hotspots

Compared to other countries, the Luxembourgish cultural scene may seem quite limited to outsiders. Especially now with winter rapidly approaching and Christmas time just around the corner, the cultural activities are rapidly dwindling. But there will be a time after the winter and Christmas break, and for that time, Roux has gathered some cultural hotspots in Luxembourg to keep an eye on, that, while well known, are often overlooked and also offer some tips for other places to look out for if you are craving some culture.

Kulturfabrik in Esch Located on the site of an old slaughterhouse, the Kultufabrik is a cultural site full of history and importance to the city of Esch. Created by squatting artists, the grassroots origin of this cultural institution is still strong. The Kulturfabrik offers a wide array of activities. The main hall is used for concerts, which run throughout the whole year. Music is a strong point here, artist residencies with studios as well as rehearsal rooms are available. But apart from music it also hosts a cinema which is used for film festivals, short films, etc. Additionally, there is an exhibition room that hosts temporary exhibitions and many other events. A bar, the Ratelach can be found on site too. A laid-back atmosphere with good cocktails and a big choice of different craft beers is offered here. Literary events can be hosted at the bar as well, including slam poetry and book reading sessions. During the summer, the Kufa Summer Bar, during which the bar terrace is enlarged and the summer evenings are accompanied by DJ sets and the occasional art performance.

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Rotondes in Luxembourg City On the site of two old locomotive depots, the Rotondes is a cultural centre in the heart of Luxembourg City between the Gare and Bonnevoie districts. As with the Kulturfabrik, it is a place that offers a wide array of cultural activities, like concerts, exhibitions, etc. On top of that, it also oftentimes hosts conventions, like gaming conventions, and specialty markets among others. It also features a bar with a kitchen and a Sunday brunch. In the summer the Rotondes offers its annual summer festival, the Congés Annulés, where you can expect a month of concerts, DJs and much more.

Other Spots There are of course many other spots that offer a wide range of cultural activities, depending on what one likes. Of course, everyone knows the theatres and the Philharmonie. However, other, smaller, cultural centres may also offer interesting events. The Aalt Stadhaus in Differdange, the Centre OpderSchmelz in Dudelange, and the Bridderhaus and Konschthal in Esch are examples that come to mind of places close to the Campus. And of course, do not forget the Nuit de la Culture in Esch. While culture may seem obsolete right now to many of you who are new arrivals to Luxembourg, be sure to check out the programs of these cultural institutions, especially for the summer semester where you can expect the cultural scene around Belval to flourish. by Fábio Conceição

F I L M P ANORAMA

What Cinema Taught Us This Year

by Elise Lacourt

From the heartbreaking to the pink and funky, from the long-awaited to the unexpected, the cinema of 2023 truly spoiled us. Each movie delivered an insightful lesson we can put into practice in the upcoming year, making it a perfect excuse to snuggle up in a warm blanket and indulge ourselves in copious amounts of popcorn.

“The Boy and the Heron” dir. Hayao Miyazaki

君たちはど

Healing wounds with magic

and hope

the Heron in I first watched The Boy and s complex story thi ding Japanese, not quite understan in a World her mot t his about young Mahito, who los e without liv to rns how War II bombing. While he lea ams dre ng her, he experiences haunti and strange encounters… e allowed me to truly immers The language gap, however, d ple Cou ld. wor n raw myself in this poetic hand-d k, it left me on the rac ndt sou ing mov with a deeply in French was then much verge of tears. Watching it quote: those who seek to more comprehensive, but, I azaki indeed remains understand will perish… Miy many questions the film quite mysterious about the n everything around you is raises. How do you live whe me grief when memories crumbling? How do you overco there are no right or keep haunting you? Because es us a few hints to help wrong answers, he simply giv to relief… us find our way from pain

う

生きるか

“Bottoms” dir. Emma Seli

Making her fa

gman

ll for you (lit

erally) This satirical teen movie, (t he kind that 30-year-old-lo features oking high-sch oolers and br footballers) fo ainless llows “ugly an d untalented” PJ. This eccent Jo sie and ric duo starts a fight club, to empower gi seemingly rls and teach them self-def reality is they ence, but the just want to ap proach pretty Not only is th cheerleaders. is an ideal pl ot for a pyjam night; but it a-party movie is also the pe rfect Barbenhe with both a hi imer concocti larious parody on, of mainstream hefty, puerile feminism and men, as well as a few explosio “Bottoms” will n scenes… leave you wit h a big smile and an urge to on your face hug your frie nds. This beau of friendship tiful allegory and sisterhood might also in try a new (mor spire you to e or less succ essful) way of seducing your crush: punchi ng them in th e face.

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The Wonderful Story of Henry Sugar dir. Wes Anderson Finding wealth in kindness (and mastering yogic superpowers)

Adapted from a Roald Dahl short stor y, The Wonderful Story of Henry Sugar is set in a meticulo usly crafted pastel universe. In just 40 minutes of hectic storytel ling and moving animated backgrounds, quirky characters narr ate the life of the man who sees without his eyes. Mister Suga r, an embittered wealthy man fascinated by this extraordinar y skill, embarks on a Machiavellian project to learn how to read through the back of playing cards, so he can cheat at the casino, and become even richer. Despite the movie’s frenetic tempo, And erson manages to leave us with beautiful images in mind and a lot to think about. Without spoiling too much, this shor t film is indeed a sweet reminder that true wealth comes from kindness, empathy, and our capacity to refrain from greed and vain desires. No matter how intelligent or rich you are, it is only by using your abilities to help others that you will feel trul y fulfilled.

Barbie dir. Greta Gerwig

Being authentic:

a plastic doll’s

advice

I’m. Just. Ken. k in your will now be stuc Sorry, this song ole life, wh imately your head for approx you are, er od cause. Wherev these but it’s for a go ar he e world needs to ote qu sing it loud; th ed on . The aforementi , ty ci words of wisdom ti en th search for au symbolises Ken’s . us of th all that resonates wi d craving for an o eg His insecure ars as ll as Barbie’s fe validation as we t toast as kf and her brea her feet go flat very a festations of burns, are mani omfort sc di that bizarre human feeling… what ly al re like “Is this when questions is?” th an ? Am I more th I was made for . nd mi r osses ou unexpectedly cr n used to merely Ke d While Barbie an s, they r people’s desire conform to othe an way, re rt us, in a very Sa true finally invite r ou nd freedom to fi ng to embrace our si oo ch s , that mean self… For Barbie nio sh Fa s. er high heel , Birkenstocks ov ly te ma ti ul onable, but wise, it’s questi n ca ly u real it’s proof that yo u want! yo ng hi be anyt

Images by rawpixel.com

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E S S A Y O N F A S H I O N

Alexander McQueen

IT'S A JUNGLE OUT THERE!

and The Paradox of Fashion

Fashion is an art form unlike any other. Its greatest strength is also its greatest weakness: the ability to represent the now. Temporality brings vitality and beauty, but also a frail and transient quality. Designers try to escape the momentary lapse that permeates their work, but their creations are quickly overthrown by new cultural references and trends. In no other artistic field is the passing of time felt more acutely. Fashion is an industry where authenticity and freedom of expression are directly interwoven with plasticity and vanity. Fashion is art's greatest paradox – a terrible beauty. Nobody understood this better than Alexander McQueen. Born in South London to a working-class family, McQueen came into a world completely distant from the realm of high-end couture, which he would eventually come to dominate. After graduating from Central Saint Martins, the young designer was given his first break by Isabella Blow, a Vogue correspondent, who saw the genius of his work. McQueen quickly became something of a cultural icon for those in the know. His first shows were held in warehouses in rough areas of downtown London, where the underground drag and rave scenes met with the world's “fashion elite”. McQueen loathed the inoffensive and “vanilla” trends that had dominated high-end fashion in the early 90’s. Whether it was in awe or disgust, he wanted people to come away from his show feeling something. His incredibly unique designs and notorious reputation attracted Bernard Arnault of LVMH, and in 1997 he was appointed as the creative director of the worldrenowned Parisian house of Givenchy. The British designer was immediately confronted with the universal dilemma of an artist trying to make a success of their work – maintaining authenticity while reaching a broader public.

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The position also exposed him to the entire jungle that was the fashion industry. McQueen always carried a profound balance of beauty and darkness in his art, juxtaposing the creative force of nature with the romantic tragedy of death. His genius lay in his ability to address the ugliness that lay beneath the industry while simultaneously turning it into a savagely beautiful spectacle. His 2001 Spring/Summer show Voss reflects this perfectly. The set was composed of a large, black glass box, forcing attendees to uncomfortably stare at their reflections for hours while waiting for the show to commence. When set in motion, the unease was heightened – illuminated lights revealed within the box a white-padded room, greatly resembling the walls of a mental asylum. As the models emerged, their inability to see out induced a disconcerting feeling of voyeurism among the spectators. The final act consisted of a recreation of Joel Peter Witkin’s infamous Sanitarium, laying bare the dark void that underpins fashion's very existence. McQueen showed how its obsession with image, beauty, and material goods was plagued by an unconscious fear of time, ageing, and death. The nothingness that lay at the heart of fashion was its very life force, a paradox that could only be presented through its own medium and by an extraordinarily creative mind.

“

Fashion is art's greatest paradox – a terrible beauty.

Plato’s Atlantis, McQueen's last-ever show, attempted to transcend this paradox. Stating in his show notes that he was “looking for something that didn’t exist”, the search led him to the idea of a reversal of evolution. For the designer, human reason had led to great discoveries but had also brought with it a great sadness. The show was based on the idea that life would one day evolve back into the water; that mankind would turn away from consciousness and find peace from whence it came. McQueen did no research, working completely from his imagination to his hands. The prints resembled a synthesis of species, natural patterns, and camouflage. Creating an indescribable feeling of familiarity in complete originality, the show seemed to present our deepest unconscious desire – an escape from that which sets us apart from nature. Plato's Atlantis reflected a glimpse at the impossible: a natural world outside of human reason and, perhaps, a fashion outside of temporality. by Cailan Harris by Cailan Harris

S N E A K P E A K F I L M R E V I E W

THE HOLDOVERS A Bundle of Fun and Joy REVIEWED BY

Jo Yi Hoon

DIRECTED BY

Alexander Payne

WRITTEN BY

David Hemingson

PRODUCED BY

David Hemingson Bill Block Mark Johnson

PREMIERED ON 31st of August

“The Holdovers” is a 2023 heartfelt American comedy film directed by Alexander Payne, known for his work on “Sideways” (2004) and “The Descendants” (2011). It is set in 1970s New England, USA, in a boys’ boarding school, where the school’s goal is to educate them into refined gentlemen of the American upper class. As a side note, I discovered the film at the historic Music Box Theatre in Chicago, Illinois - an experience worth replicating. When the film is released next year, I hope that this early review will encourage you to do the same.

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The film focuses on a trio of unlikely companions. Paul Hunham (Paul Giamatti), is a disgruntled instructor and classics teacher at the fictional Barton Academy. He is disliked by both the students and the faculty, making him a somewhat bitter individual, but there are reasons behind his acerbic demeanour. With great reluctance, he accepts the responsibility of looking after five young boys who are staying at the school during the Christmas holidays. Hunham is joined by Mary Lamb (Da’Vine Joy Randolph), a middle-aged school cook who is mourning the loss of her son, an alumnus killed in action in the Vietnam War. Despite their initial differences, Hunham forms an unexpected bond with one of the students named Angus Tully (Dominic Sessa), completing the main trio. Tully is a precocious, academically gifted young man, abandoned by his mother, who chooses to honeymoon with her new husband instead of spending time with her son during this holiday, and he is clearly resentful about it. Hunham is initially austere, following his own stringent moral code, imposing a strict timetable that leads to a rapid decline of his popularity among the students. This involves regular classes, physical education, and punishments for any misconduct (specifically skipping dinner). His commitment to educating the young generation is evident when he expresses that both he and the school have the moral duty of preparing them for the ‘real’ world. If the students are not adequately prepared in a comfortable, sheltered environment, then, according to Hunham, the staff have failed their duty. Despite this emotional outburst, understandably, everyone is extremely unhappy – the aforementioned trio and the young boys conceal their anguish

behind overly spirited behaviour, which is further magnified by the festive season. This is also heightened by Mark Orton’s musical score, as his music shifts from contemplative scenes to a gleeful chase through vacant school hallways, adding complexity to the movie. At first glance, the movie may appear simple, but as it progresses, it becomes more and more entertaining, featuring characters who are likeable and easy to root for. The film explores themes of mental health, abandonment, grief, and the importance of human connection. Despite the backdrop of an American boarding school in the 1970s – an overdone cliché – the cast fully utilises it, bringing endless delight to the screen. I particularly admire how director Payne challenges the audience to face the reality that it is all too simple to judge others, especially the main trio of the movie, who have to confront their inner demons; particularly the young Tully, who is discontented about spending the holidays with initially unfamiliar, realistic, broken adult figures. “The Holdovers” is a movie that, in my opinion, gets everything right with its witty dialogues, charming characters performed by an excellent cast, plus a runtime of just over 2 hours and 10 minutes. As mentioned at the start, it is highly recommended to see the movie in an old vintage cinema, armed with a cocktail or mocktail in hand. I am certain “The Holdovers” will bring merriment whenever you visit Barton Academy. by Jo Yi Hoon

S H O R T S T O R Y

SMAL TOWN CHAR 20

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“Are you awake?” As I force one eye to open, I recognise my wife’s face peeking through the bedroom door. The scent of fried eggs and ham enters from behind her, and I feel a prickle of the smell on my bare, naked skin. I nod in the dim light, and she flashes me a grin before heading back to the kitchen. She’s an effective alarm clock; particularly when she’s already out and about before I am even capable of lifting a single toe out of bed.

She gives me half of a hearty chuckle and half of a defeated sigh. “Nothing we can do. Besides, we haven’t had a proper breakfast like this in a while. And going into last year, we agreed that we’d be fine as long as we didn’t exhaust our capabilities too much.” She then turns around to face me, away from the stove, with her hands behind her back, clasping onto a wooden spatula. I see two, three, maybe five beads of sweat running down her forehead, and place a kiss right between her eyebrows.

LL N’S RCOAL As I stand up and fight the rise of a slight headache, I glance back at the barren, sheetless mattress for a second. It helps to keep it cool and comfortable for the night, or at least we tell ourselves so.

My head still buzzes as I, now fully dressed, stumble into the kitchen. “Using the frying pan?”, I ask curiously. Lindsey points to a sheet that is pinned to the refrigerator without looking at me. “First time in two weeks. We can allow ourselves to use either the oven or the stove at least once a week, remember? Temperatures have not risen much in the last month, after all.” I pondered for a moment. “Right. But they’ve been steady.”

Halfway through eating breakfast, I notice that my armpits are already partially soaked. I fish for the remote in between the cracks of the sofa. As I increase the volume of the local broadcast, the reporter’s voice echoes and trembles against the walls of the apartment. His shirt has wet stains all over it. We can’t help it. Lindsey makes her way to the sofa to join me; not looking up from her phone just yet and placing her palm on my knee. I grab her hand softly with mine, which is glistening and moist. When I lift it later, it leaves a print on her shorts. As she looks up at the TV, her eyebrows are raised in a particular way, like the roof of a house. She’s worried about something specific, I can tell.

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“And here goes the daily weather report, folks! Today it is, you guessed it, hot, hot, hot, and HOT! Temperature has been steady at 61.5 degrees Celsius for the past month and a half. As you already know, throughout the last two years we’ve been dealing with a nice and smooth 59.7 degrees, sooooo the upsurge is still pretty much there, yes! No changes so far, so just like yesterday-” From the corner of my eye, I see that my wife’s lips are forming the same words as the reporter’s, just like mine. We have learned it by heart by now, repeating it silently as the years go by.

“Bring an umbrella, don’t forget sunscreen, and make sure you’ve got that insurance! HAHA! Golly, it never gets old, does it? Alright, ladies and gents, stay safe — oh, and before I forget, we are expecting a new delivery of goods as of today, 1 pm. All employees at the main bay are highly encouraged to be present for transportation needs. The more, the merrier — the more, the quicker! And less dangerous, of course!” Lindsey sighs and gives me an encouraging smile. “Seems like they really need you today, hun. I only start my shift in the late evening.” I, however, as the reporter had declared, was needed at the town’s bay at 1 pm. Normally, I sit in the office near the water, keeping watch and answering any electronic requests that come my way.

Yet occasionally, we receive deliveries to the small town. I’ve always liked working near the water because it makes me feel safe. And humid. Lindsey works late shifts in a nursing home. We switch cooking duty each day. The heat continuously makes the buzz in my head grow, and I feel a migraine unfurl as I put on my sandals. “Are you alright?” I look back at Lindsey, whose eyebrow position has not changed. I caught her staring out of the window a couple of times throughout the morning, more alert than usual. When I approach her, I reach out my hand to stroke her hair; it’s sticky, almost as if unwashed. “Have you heard of little Emily?” I shook my head, but I could imagine what was coming. “Another burnt one?” I ask, dreading the affirmative reply. “She had been found right down the street, burnt to a crisp. The poor girl wasn’t allowed to play outside for weeks. Went out without permission, I heard. They found her near her bike, dehydrated.” “That’s horrific” I manage to say. Because it is. But there’s nothing we could do. The town was burning. All the time. Lindsey and I exchange some hugs and “see yous” before I head out. I crossed my heart when the front door closed. My heart feels heavy for little Emily. As usual, I was hoping, with all my might, that it wouldn’t be Lindsey’s turn today. Or tomorrow. Or ever.

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* The all-too-familiar heat of the unforgiving sun immediately strikes me, as though it’s lightning; sending pure, electric volts onto my scalp and skin. When I walk to work, I avoid the exposed parts of the path. This means: I take shortcuts to walk in the shade, avoid the open road, and keep a steady pace. There is no extra minute that needs to be spent under the sun unless it’s unavoidable. As I make my way to the Bay Area, I hear a sizzling sound every now and then, like a malfunctioning radio. The noises engulf me, originating from broken-down abandoned cars that are scattered across the neighbourhoods, ruined by the heat. With each step, I feel my legs feel heavier; the pools of sweat grow larger under my toes. But I’m almost there. When I approach the bay, I try my hardest to walk a great distance to the bodies that have not been disposed of. Burnt limbs and body parts were blackened and covered in charcoal. Shedding skin and an unbearable stench are interrupted by small flames every few metres, which are spread throughout the town. Objects that caught fire and cannot or weren’t put out. There’s nothing we can do. There is a sun beyond these heat frequencies. And the sun is merciless, and sometimes she’s quite cruel and acidic on our skins, dangerous to our insides if we’re not careful enough. Or, if we are little children, choosing to ride our bicycles in the open for fun. Hours of work pass as I lift another box from the boat onto the coast. I am out of breath and have no allowance to leave before the goods are entirely taken care of. Now and then I glance at my co-workers, huffing out short, rattling breaths, their clothes barely protecting them from the burns. My head buzzes like crazy. As acceptance creeps upon me, I take a swift look at the sun. I might not make it home today.

by Sofia Miller

P O EMS

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F A I R Y T A LE R E T O L D

NOTHING CAN STOP ILEANA On the 21st of December the Winter Solstice dawns the shortest day of the year. The frenzied northern winds are blowing their pagan songs outside our windows, summoning this year’s darkest Night. She has come and we greet Her in our own fashion: with a dark tale read at candlelight. Retold by me is the Romanian fairytale about the cunning princess Ileana – a resurrected legend that granted its princess protagonist such unthinkable features as aggression, vengefulness, and advocacy. Many of us have known the sweetness of the first love in its beginning; a good many of us have known its violent ends. This tale risks inverting the convention: what if love began with violence instead? Then, only those who are fit to endure its darkest storms may be blessed with its sweetest delights… Johnny Hollow – Nothing Can Stop Ileana

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SWEET ILEANA

(a retelling of a Romanian fairytale) hose who don’t know how to make love, make war. One of such men was the king of a now forgotten marvellous kingdom – mourned by the death of his beloved queen, he could no longer see the beauty of what surrounded him. Neither the gentle songs of their daughter Ileana nor the riches of his castle could mend his bleeding heart. Thus he ventured into a war against the king of a neighbouring land and left his child behind in her solemn chamber.

All the while, the young prince was left to mend his wounded pride. Deeply offended by the violent conduct, the boy became even more obsessed with seizing Ileana. He bid his servants to spread the rumour that his father’s palace possessed the healing goods and made sure that the rumour would reach the King’s deathbed.

Gossip about the princess left alone and poorly guarded reached the ears of the enemy. Behold, the neighbouring king had a son of his own, the same age as our king’s daughter! Boys will be boys – or so they say. A vile plan arose in the young prince’s mind: to steal a kiss from the princess, so that the King would come back home to spoiled goods.

Determined to do whatever it took to make her father better, Ileana sneaked over to the neighbour’s palace, distracted the butler and stole some food. The princess was a slave to her rage towards the enemy who had injured her father and King, petty towards his foul son. On her way out, Ileana knew no better than to smash the plates all over the room, barely evading capture.

A faithful maid warned Ileana of the dangers of the unexpected guest’s arrival. The princess swore on her mother’s grave to show no fear; she would not sit in her tower and wait to be seized, hunted for sport like prey…

— Only wine stolen from my enemy’s table will cure me, – moaned the King in excruciating pain the next day.

She got ready to meet the visitor herself. Mesmerised, the young prince trembled at the sight of Ileana: her pearlescent skin, her stern eyes, her silver embroidered dress all illuminated in the light of the dawn. How could he ever harm such a creature? The boy became red with shame and knew no better than to accept her invitation for dinner. And so later he entered the candlelit dining hall. And what a banquet it was! Ileana showed him to his seat – alas, a trap she had set – and the moment he sat down, that trap beneath his feet opened, and the boy fell into the cellar. — Guard! There’s an intruder! – Ileana cried out, and in the dim light you could notice a single tear running down her porcelain cheek. She watched the guards remove the prince from the castle and never uttered a word. The next day, her father returned from the battle badly wounded. Scared of losing her last kin on earth, Ileana spent nights and days at her father’s bed, mending his wounds. Ah, wouldn’t she have done anything in the world to make him better!

— Only the food from my enemy’s table will cure me! – cried out our King in his agony.

Ileana sneaked over again, filled her jar with wine, and dumped the rest of the wine stash all over the floor before easily escaping once again. — Only a golden apple stolen from my enemy’s apple tree will cure me, – the King sighed at last. The young prince wouldn’t let Ileana go this time. He had planted his palace’s sharpest knives and swords with their blades sticking out from the ground underneath the apple tree. Their fine, silvery razor edges shone and glimmered in the hazy moonlight… Hoping to maim or kill the princess, the prince left his contraption and hid in the bushes to watch what would unfold. But Ileana was not fooled. She stepped carefully around the sharp knives towards the tree until she noticed the prince watching her. She directed her radiant gaze at him and beckoned the prince to come closer. “Ah, what a joyful delight would it be to push her into the knives myself!”– thought the boy as he approached. He grabbed Ileana’s outstretched hand and she pulled him closer… Their lips met, and the rest was eternity.

F A I R Y T A LE R E T O L D

— Ah, what is this cruel feeling? – sighed the princess, – This strange love… it annihilates me! Ileana tore a golden apple from a branch, then pushed the young prince into the knives he had intended for her. Thus the princess escaped the enemy’s palace and left our badly wounded young man behind. Her heart was agitated in sweet agony mixed with shame, and she could not tell anymore what she desired most – revenge on the prince or the prince himself… Meanwhile, the boy was suffering terrible pain. He called for a witch to come and dress his wounds with a healing potion. Ileana put on her dark blue velvet cape and painted her face with coal and silver, so that she would look black and magnificent like the night herself. She entered the chamber where the young prince rested and wrapped his wounds in vinegar-soaked cloths. The boy’s pain exploded in such a magnitude, he felt close to death. The prince called for a priest to give him the last rites. Ileana dressed herself in a black robe and, with the Holy Book in one hand, her mother’s old rosary in the other, entered the room. She bent down at the young man’s bedhead and uttered: — Confess your sins, my dear prince. Are you at odds with anyone? — Only Ileana, – the prince moaned, – I hate her! I hate her because I love her so much. If I don’t die tonight, I will ask for her hand in marriage. And if I don’t kill her the first night, she shall be my faithful wife. That was all Ileana needed to hear. She returned to her home palace and waited. Three moons had passed before her father and the prince had fully recovered, and soon afterwards a letter arrived with a proposal of marriage. In no time Ileana and the prince had a magnificent wedding that brought harmony between the two kingdoms. All the handsome lords and ladies, brave knights, jolly peasants and all their children danced, drank and ate together; and there was never a more splendid night than this one, with a celebration banquet spread all along the road from one kingdom to the other.

Yet Ileana did not forget the threat the prince had made on his deathbed. She had had a doll custom-made out of sugar, a precise replica of herself. Ileana placed it as a decoy under the covers of their matrimonial bed, then hid behind the curtain and waited for the prince to enter the room. Soon her beloved arrived: his mind aflame with rage and passion, his hand dragging a sword. — Ileana! – he cried out to the sugar doll on the bed, – Did you throw me into the cellar? — Yes, – whispered Ileana from behind the curtain, and the prince slayed the doll in the heart with his sword. — Did you empty my dishes? Did you pour out my wine? – he hit the doll once again. — Yes, – she said. And he slashed and slashed the doll with his sword, slashed and slashed with all his might that dainty figure under the covers. — Did you throw me into the knives?! — I did! The Prince pierced the doll once more. Finally, he fell to his knees and buried his face into his breathless sugar bride’s carcass. He burst into tears, tears trickled down his cheeks and landed on the doll, melting it until the prince could faintly taste the sugar: — My beloved Ileana! Sweet you were, ever so sweet in life, and you remain sweet in death! — Sweet, indeed! And from now on, I will be a hundred times sweeter, – said Ileana, revealing herself from behind the curtain. Seeing his bride alive and breathing, the prince couldn’t believe his eyes – indeed, the mystery of love turned out to be greater than the mystery of death. He lifted Ileana and locked her in a passionate embrace, she covered his soft skin with thousands of kisses until their tears and their lips tasted like sweetness and you couldn’t tell where one ended and the other began. Only love and death change all things. Only love and death.

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Only love and death change all things Retold by Kristina Shatokhina

Illustrated by Kristina and José