Tue, 23 Sep 2025, 09:55 am
Economy

Dollar price should not be high: BB

Bangladesh Bank (BB) has observed that as a trade balance is prevailing now in the country, dollar price should not be high. “Now there is a trade balance here, the

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Another dream getting closer to reality

Bangladesh is going to move one more step closer to fulfilment of the dream of generating nuclear power as it is all set to load uranium fuel into the reactor

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Prices set for potato, egg, onion ignored

The prices of egg, potato, and onion in the markets in the capital remained high on Friday—the first day after the government set the prices of three locally produced food

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Chip designer to the world in $54bn market return

UK-based chip designer Arm Holdings has secured a $54.5bn (£43.6bn) valuation, as it makes its highly-anticipated return to the stock market. The shares were priced at $51 each, which is

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Reasons behind record inflation are chicken and egg: Planning Minister

In the month of August, the food sector saw 12.54 percent inflation. This record inflation was caused due to chicken and egg, commented Planning Minister MA Mannan. He made this

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China emerges from deflation as August prices rebound

China’s consumer price index rebounded in August as the world’s second-largest economy emerged from deflation, official data released Saturday showed, despite sluggish domestic consumption that is complicating the country’s post-Covid

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Global rice prices hit 15-year high after India curbs: FAO

Global rice prices reached a 15-year high in August after top exporter India banned some overseas sales of the grain, the Food and Agriculture Organization said Friday. While global food prices eased

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Global trade finance gap expands to $2.5 trillion in 2022: ADB

The global trade finance gap grew to a record 2.5 trillion US dollars in 2022 from 1.7 trillion dollars two years earlier, as rising interest rates, flagging economic prospects, inflation,

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Turkey’s annual inflation nears 60pc in August

Turkey’s annual inflation approached 60 per cent last month, official data showed on Monday, putting pressure on the central bank to further hike interest rates at the risk of angering

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Pakistan inflation stalls high despite IMF bailout

Pakistan’s headline inflation persisted at 27.4 percent year-on-year in August, official data showed, as a tumbling rupee and soaring bills blamed on an IMF bailout package hampered government efforts to

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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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