Sun, 21 Sep 2025, 05:49 am
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Oscar-winning ‘Cuckoo’s Nest’ actor Louise Fletcher dies at 88

Louise Fletcher, a star whose riveting performance as the cruel and calculating Nurse Ratched in ‘One Flew Over the Cuckoo’s Nest’ set a new standard for screen villains and won

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Iranians unite in rage, mourning

The violent death of 22-year-old Mahsa Amini has achieved something the entire opposition has failed to do during the 43-year rule of the ayatollahs in Iran: almost the entire Iranian

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Hasina expresses worry over challenges by Covid-19, Russia-Ukraine war

Bangladesh prime minister Sheikh Hasina on Thursday expressed concern about financial and commercial challenges alongside food and energy crisis facing the developing countries in the wake of the Covid-19 pandemic

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PM interacts with world leaders at King’s reception

Prime Minister Sheikh Hasina on Sunday attended a reception hosted by Britain’s King Charles III at Buckingham Palace with other world leaders. King Charles and his wife Queen Camilla hosted

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New York declares a state of emergency in response to polio concerns

The executive order will increase the resources available to New York officials attempting to combat the spread of the virus. New York Gov. Kathy Hochul declared a state of emergency

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Literature world holds New York rally for Rushdie

Prominent literary figures including Paul Auster and Gay Talese gathered Friday in Manhattan for a reading of Salman Rushdie’s works, in solidarity with the author seriously injured in a stabbing

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Year’s largest fire burns through dry terrain to destroy California homes

The largest fire in California this year is forcing thousands of people to evacuate as it destroys homes and rips through the state’s dry terrain, whipped up on Sunday by

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6 people die after storm causes Montana highway pileup

Six people have died after a dust storm fueled by wind gusts topping 60 mph caused a pileup Friday evening on Interstate 90 in Montana, authorities said. Twenty-one vehicles crashed

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Sunak tops first round of voting for new UK Tory leader

Former finance minister Rishi Sunak led the field of Conservative MPs bidding to become Britain’s next prime minister in the first ballot of Tory lawmakers Wednesday, as the race narrowed

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Boy killed, three wounded in shooting after Washington concert

A 15-year-old boy was killed and three other people, including a police officer, were wounded in a shooting after a concert in Washington Sunday night, the local police chief said.

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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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