Sat, 20 Sep 2025, 10:20 pm
NewYork

US inflation eases in October but still near decades-high

US consumer prices cooled in October but remained at decades-high levels, according to government data released Thursday, keeping the pressure on President Joe Biden as his Democratic party struggles to

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Key Democrat wins push US Congress battle to the wire

Results are being declared in the US midterm elections, with control of Congress hanging in the balance, reports BBC. Republicans are likely to take control of the House of Representatives,

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Sunak poised to become British PM as Johnson quits leadership race

British Conservative Rishi Sunak was on Monday poised to become prime minister and the country’s first leader of colour, after the dramatic decision by ex-PM Boris Johnson to abandon an

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Bangladesh becomes UNHRC member with highest vote

Bangladesh has been elected as a member of the UN Human Rights Council with 160 votes, the highest number of votes secured by any candidate in the Asia pacific Group.

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New York City declares emergency over migrant ‘crisis’

New York City Mayor Eric Adams has declared a state of emergency to address a “crisis situation” over an influx of migrants. More than 17,000 have arrived in the city

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Hurricane Ian death toll climbs to 62 in Florida

The confirmed death toll from Hurricane Ian, which slammed the southeast United States last week, has risen to at least 62, officials said Sunday. Ian, one of the most powerful

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After devastating Florida, Hurricane Ian rakes South Carolina

Deadly Hurricane Ian, one of the most powerful storms ever to hit the United States, roared into South Carolina on Friday, delivering a powerful second punch after walloping Florida. The

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Hurricane Ian pounds Florida as a monster storm

Hurricane Ian plunged much of coastal southwest Florida into darkness Wednesday, as the monster storm brought “catastrophic” storm surges, wind and flooding that had officials readying a huge emergency response.

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Rohingyas must go back to their homeland: PM in Washington

Bangladesh prime minister Sheikh Hasina has said Bangladesh is not in a position to take any more people from Myanmar emphasizing on repatriation of the Rohingyas who took shelter temporarily

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US secretary of state Blinken urges calm on Taiwan in talks with China

United States secretary of state Antony Blinken called Friday for calm over Taiwan as he met his Chinese counterpart, as soaring tensions showed signs of easing a notch. Blinken met

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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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