Tue, 23 Sep 2025, 09:28 am
Economy

Banks’ CSR spending drops 38% in Jul-Dec 2023

The country’s banking sector spent 38.28% less for their corporate social responsibilities (CSR) during the second half of 2023, compared to the first half of that year. According to the

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India replaces Germany as Russia’s top medicine supplier

India emerged as Russia’s largest supplier of pharmaceuticals last year, filling the recent void left by previously dominant Western firms, RBK reported on Monday, citing data compiled by RNC Pharma.

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Bangladesh now home to 214 green factories

Bangladesh has achieved remarkable progress in building LEED-certified green factories. With one new factory achieving this feat, the number of green factories in the country increased to 214. APS Knit

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Commodity prices go up due to making extra profit than extortion: Minister

Home Minister Asaduzzaman Khan on Saturday attributed the price hike of essentials in Dhaka to the traders’ tendency to make extra profit than extortion. Despite this fact, he said, the

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Bank of Japan hikes main interest rate for first time in 17 years

Japan’s central bank on Tuesday scrapped its negative interest rate policy and hiked borrowing costs for the first time in 17 years. “The Bank will encourage the uncollateralised overnight call

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Prices of some commodities hike again

The prices of some of the essential commodities, including onion, potato, aubergine, tomato, broiler chicken, beef, and dates, witnessed a further rise at the start of the Muslim fasting month

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Bangladesh invites international bids to explore offshore oil and gas

Petrobangla, the oil, gas and mineral resources’ corporation of the country, has floated the offshore bidding, inviting international oil and gas companies to explore in the Bangladesh maritime areas in

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Gold price hits record high in international market

The price of gold reached an all-time high in the international market on Friday. The price of the safe-haven metal rose 0.4 percent in the spot market on the day.

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Egg, beef to be sold at low prices in Dhaka from 10 March: Minister

The government is taking an initiative to sell commodities like egg, broiler chicken, beef, and mutton at low prices in Dhaka from 10 March in view of the month of

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WTO talks end with no major win

A high-level WTO conference ended on Saturday with a temporary extension of an e-commerce moratorium but no deals on agriculture and fisheries, throwing into doubt the effectiveness of the multilateral

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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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