Wed, 17 Sep 2025, 08:56 am
Politics

Voting for Dhaka-17 by-election ends amid low turnout of voters

Voting for the by-election for Dhaka-17 parliamentary constituency ended on Monday afternoon amid low turnout of voters and some untoward incidents. Ruling Awami League activists allegedly assaulted independent candidate Ashraful

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BNP will not go to polls under AL govt, leaders tell EU delegation

Bangladesh Nationalist Party leaders on Saturday told the visiting Election Exploratory Mission from the European Union that it was not possible for their party to join the next national election

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Barapukuria indictment hearing against Khaleda Aug 8

A Dhaka court set August 8 for holding hearing on charge framing in the Barapukuria Coalmine graft case against BNP Chairperson Begum Khaleda Zia and nine others. Today was fixed

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BNP’s Dhaka rally begins

The much-hyped Dhaka rally of the main opposition Bangladesh Nationalist Party began in front of the party central office on Wednesday afternoon amid tight security. The rally began with recitation

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Indictment hearing in Khaleda’s Gatco graft case July 30

A Dhaka court set July 30 for holding a hearing in a graft case against BNP chairperson Begum Khaleda Zia and 14 others. Judge Ali Hossen of Dhaka Special Judge

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BNP to hold rally on July 12 for unveiling one-point movement

The BNP will hold a rally in the capital on July 12 to announce its one-point movement demanding resignation of the government and election under a caretaker government. Mirza Fakhrul

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Kishoreganj AL leader found dead in town’s pond

Ruling Bangladesh Awami League’s Kishoreganj district unit industries and trade affairs secretary Badal Rahman was found dead in a pond in the district town’s Sholakia area on Sunday. Badal was

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Tipu Munshi under fire in Parliament for price hike of essentials

In the face of severe oppostion criticism in parliament for his alleged failure to control price hike of essential commodities, commerce minister Tipu Munshi on Monday offered to resign if

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Khaleda Zia to return home from hospital this afternoon

BNP Chairperson Khaleda Zia will return to her Gulshan residence on Saturday afternoon after 5-day of treatment at Evercare Hospital in the city, said her personal physician AZM Zahid Hossain.

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BNP leader Khandaker Mosharraf Hossain admitted to hospital

Senior Bangladesh Nationalist Party leader Khandaker Mosharraf Hossain has been hospitalised as he fell ill at his residence on Friday night. The BNP leader was taken to the Evercare Hospital

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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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