Tue, 23 Sep 2025, 09:13 am
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Professor Yunus inaugurates newly built PKSF Bhaban-2 in Dhaka

Chief adviser Professor Muhammad Yunus on Sunday unveiled the plaque of the newly constructed Palli Karma-Sahayak Foundation Bhaban-2 at Khiljee Road (Bir Uttom ANM Nuruzzaman Road), Shyamoli, Mohammadpur. Finance adviser

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Newly elected members of DUCSU take charge

The newly elected members of Dhaka University Central Students’ Union formally assumed their responsibilities on Sunday as their first meeting was held at the vice-chancellor’s office. The meeting discussed several

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JCD panel boycotts JUCSU polls over alleged ‘rigging’

Candidates from the Jatiyatabadi Chhatra Dal-backed panel on Thursday announced their boycott of the Jahangirnagar University Central Students’ Union elections, alleging widespread irregularities and vote manipulation. The announcement came at

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Regardless of political views, everyone will work together: Shadik Kayem

In reaction to being elected Vice President (VP) in the DUCSU elections, Shadik Kayem said that regardless of political views, everyone will work together. He stated, “The expectations of the

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NBR seizes locker belonging to Sheikh Hasina at Pubali Bank

The Central Intelligence Cell of the National Board of Revenue on Wednesday seized a locker belonging to Bangladesh’s ousted prime minister Sheikh Hasina. A CIC team seized the locker at

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Bangladesh slams Israel’s attack on Qatar

The government of Bangladesh has unequivocally condemned the recent Israeli military aggression against Qatar. Such actions constitute a clear violation of the sovereignty and territorial integrity of Qatar, as well

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Shibir-backed candidates win top DUCSU posts with big margins

Islami Chhatra Shibir-backed candidates have won the key positions of vice-president (VP), general secretary (GS) and assistant general secretary (AGS) in the Dhaka University Central Students’ Union elections with significant

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Factors behind deadly Nepal unrest

Nepali youth, digitally savvy but bowed down by unemployment and limited opportunities, hit a breaking point this week, furious at an elderly ruling class they see as out of touch.

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DUCSU Election: How students will cast their votes

The long-awaited election to the Dhaka University Central Students’ Union (DUCSU) and hall unions will be held tomorrow (Tuesday). Polling will take place from 8 am to 4 pm at eight

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At least 10 dead in Nepal protest over social media ban: police

At least 10 people died in clashes with the police in Nepal, which broke out on Monday after the police fired tear gas and water cannon to disperse thousands of

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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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