Tue, 23 Sep 2025, 09:37 am
Bangladesh

Teesta water flows above danger level, leaves bank flooded in Lalmonirhat

Water of Teesta river is flowing above the danger mark due to surge of water from upstream hills and heavy rainfall in Lalmonirhat. As a result, low-lying areas on the

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Transport workers call off indefinite strike in Sylhet

The Sylhet District Bus-Minibus Workers’ Union has called off the indefinite strike within six hours of the announcement on assurances from the authorities. After a meeting with the Deputy Commissioner

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US delegation visits Rohingya camp in Cox’s Bazar

A US delegation led by US Ambassador to Bangladesh Peter Haas reached Cox’s Bazar to observe the situation at Rohingya camp. A flight of US Bangla Airlines carrying the delegation

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Ctg-Cox’s Bazar train service from September

CHATTOGRAM: The eagerly anticipated construction of the Chattogram (Dohazari)-Cox’s Bazar rail line has moved into high gear, as Bangladesh Railway (BR) aims to have the tracks operational by September this

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2 constables die of dengue in Dhaka

Two police constables of Dhaka Metropolitan Police (DMP) died of dengue fever at separate hospitals in the capital. The two deceased were identified as Rasel Shikdar, constable of Hazaribagh Police

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Three killed in clash over land dispute in Rajshahi

At least three people were killed and seven others were injured in a clash between two groups at village Musrapara Yazpur of Godagari upazila in Rajshahi on Monday. The deceased

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More rain likely across Bangladesh over 72 hours

There may be more rain in Dhaka and elsewhere in the country in the next 72 hours starting from 9:00am on Monday, according to Bangladesh Meteorological Department’s weather forecast. ‘Light

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Three go missing in River Teesta in Lalmonirhat

Three people went missing while crossing the River Teesta at village Dhubni of Hatibandha upazila in Lalmonirhat on Sunday morning. The victims are — Fazlul Haque, 59, Ahidul, 50, and

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Man goes missing as boat sinks in Sylhet

A man went missing after a stone-laden boat capsized in the Dhalai River in Bholaganj zero point area of Sylhet’s Companiganj upazila on Friday. According to police and locals, when

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Dhaka Elevated Expressway’s Airport-Tejgaon section to open in Sept

The 11-km-long Airport-Tejgaon portion of the Dhaka Elevated Expressway will be opened for the vehicular movement in September, this year. Prime Minister Sheikh Hasina will open it, hoped Road Transport

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The megastar plays a philosophy professor shaken by a student’s sexual assault allegation against a colleague in Luca Guadagnino’s new film – and she’s easily the best thing about it. Julia Roberts doesn’t make many films these days. She was in Leave the World Behind in 2023; in 2022, there was her tropical romantic comedy with George Clooney, Ticket to Paradise; and then we have to jump all the way back to 2018 for her previous turn in Ben Is Back. But you can see why she chose to star in After the Hunt, a contentious campus drama directed by Luca Guadagnino (Call Me By Your Name, Challengers). Roberts is on screen for almost every one of its 139 minutes, and she is the monumental centre around which its chaos and controversy swirl. It’s the kind of heavyweight role that gets awards nominations if it goes to the right person – and Roberts is definitely the right person. Her character is Alma, a philosophy professor at Yale University. Striding regally around its leafy quadrangles in a chic white suit that matches her blonde hair, this combatively intelligent alpha female is adored by everyone who knows her. Her husband Frederik (Michael Stuhlbarg) is resigned to the fact that he loves her more than she loves him, and is willing to make whimsical jokes about the imbalance; Hank (Andrew Garfield), a would-be rebellious friend and colleague, is even more flirtatious with her than he is with everyone else; and her favourite PhD student, Maggie (Ayo Edebiri), worships her – which could explain why she is Alma’s favourite PhD student. It seems as if the status quo might soon be upset, though, as either Alma or Hank – or perhaps both – is expected to be granted permanent tenure. But then something far more drastic happens. The day after a boozy party in Alma and Frederik’s book-lined flat, Maggie tells Alma that Hank walked her home and then “crossed a line”. Alma is sympathetic – but only up to a point. There is no evidence of assault, so she isn’t sure whether to trust the word of a new friend over an old one, especially at such a critical moment in her career. And maybe, her thinking goes, lines were crossed at the party anyway, considering that teachers and students were hugging each other while knocking back expensive wine. “Roberts’ Alma is a coiled spring: her steely stillness makes her ferocity all the more powerful” It’s refreshing to see a grown-up Hollywood film that takes on contemporary issues: feminism, cancel culture, identity politics, and the generation gap. But After the Hunt is more of an admirable project than an engaging drama, because it never stops reminding you of how clever it wants to be. Guadagnino keeps showing off his quirky camera angles and intrusive music choices. The screenplay, by Nora Garrett, squeezes too much philosophical jargon into the dialogue, and too many tangential scenes and subplots into the structure. You might think that the alleged assault would be a big enough deal for any film, but Alma is given mysterious abdominal pains and guilty secrets, and Maggie is overloaded with significance as a queer, black, plagiarism-prone young woman with a non-binary partner and rich parents who are major donors to the university. In theory, viewers of After the Hunt should leave the cinema arguing about its subject matter. In practice, they’re more likely to be asking each other what was going on and what it meant. It’s all a bit much, basically. Garfield, miscast as a denim-clad dude who is, it is implied, roughly the same age as Roberts’ character, shouts and swears and waves his arms with a quantity-over-quality approach to acting. Stuhlbarg’s flouncing and sing-song delivery are presumably meant to be irritating, but perhaps not as irritating as they actually are. At the heart of it all, though, Roberts is a different matter. She understands that less can be more. Her Alma is a coiled spring: her steely stillness makes her ferocity all the more powerful and her pain all the more intense. Her muttering is scarier than Garfield’s yelling, and when she glares at someone, they stay glared at. It’s an expertly controlled performance which demonstrates why Roberts has been a Hollywood icon for so long, and why she could well be in line for her second Oscar, 25 years after Erin Brockovich. After the Hunt would have been better if everyone else involved had had some of that control, too.

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