Tue, 23 Sep 2025, 10:29 am
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Meet Rimu, the woman building a future for Rohingya refugees

Rima Sultana Rimu, one of the two Bangladeshi women named in the list of 100 inspiring and influential women from around the world for 2020 revealed by the BBC, is

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Meet Rimu, the woman building a future for Rohingya refugees

Rima Sultana Rimu, one of the two Bangladeshi women named in the list of 100 inspiring and influential women from around the world for 2020 revealed by the BBC, is

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Covid: How do you vaccinate a billion people?

When it comes to vaccine making, India is a powerhouse. It runs a massive immunisation programme, makes 60% of the world’s vaccines and is home to half a dozen major

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Africa’s economic giant Nigeria at a ‘critical juncture’

More than 200 million Nigerians will slide further into poverty as the coronavirus pandemic has sent oil prices tumbling and pushed Africa’s largest economy into recession. To many in oil-rich

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World’s deepest diving pool opens in Poland

A 45.5-metre (150-foot) deep diving pool with artificial underwater caves and Mayan ruins, the world’s deepest such structure, opened near Warsaw this weekend. The complex, named Deepspot, even includes a

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Sheikh Hasina: A Prime Minister and Beyond

Bangladesh Prime Minister Sheikh Hasina is applauded for securing unprecedented socioeconomic development, reducing women and child mortality, alleviating poverty and illiteracy and boosting women empowerment. Father of the Nation Bangabandhu

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Coronavirus vaccines: Will any countries get left out?

Health experts say the only solution to the coronavirus pandemic is a global one. There have been more than 55 million cases of the virus confirmed around the world and

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Covid-19 in US: Is this coronavirus wave the worst yet?

Americans may have tuned out of coronavirus news as they focused on the outcome of the presidential election, but the pandemic has quietly been getting worse in the country. The

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Northbrook Hall, a hallmark of Dhaka’s history

How long had it been since it heard the performance of prominent artistes? When last time it hosted a grand festival? The Indo-Saracenic building of Northbrook Hall, also known as

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New Zealand discovers 1,500 fraudulent votes … in an election on birds

The candidates have feathers and the policy platforms are non-existent. It’s New Zealand’s Bird of the Year vote — and just like a regular election, there are concerns over keeping

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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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