Wed, 24 Sep 2025, 09:28 am
World News

Defying deadly crackdown, crowds again protest Myanmar coup

Police in Myanmar’s biggest city fired tear gas Monday at defiant crowds who returned to the streets to protest last month’s coup, despite reports that security forces had killed at

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Covid-19 variants pose ‘real threat’ to vaccine progress, CDC warns

The spread of highly contagious coronavirus variants is threatening to fuel a “potential fourth surge of cases” in the US, a top health official has warned. The head of the

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All 279 kidnapped Nigerian students released: governor

All 279 Nigerian students kidnapped from their boarding school in the northern state of Zamfara have been released and are on government premises, the governor of the state told AFP

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Italy summons Myanmar envoy over protest crackdown

Italy’s foreign ministry said Monday it had summoned Myanmar’s ambassador to demand an end to the deadly crackdown on protests in the Southeast Asian nation. Ambassador Hmway Hmway Khyne “was

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Three names mysteriously removed from Khashoggi intelligence report after initial publication

Shortly after the US intelligence community published its long-awaited report on Friday afternoon on the Saudis who were responsible for the death of Jamal Khashoggi, it was taken down without

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Modi takes first dose of COVID-19 vaccine

Indian Prime Minister Narendra Modi on Monday took his first dose of the COVID-19 vaccine at AIIMS in New Delhi and appealed to all those who are eligible to get

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Global Covid-19 cases surpass 114 million mark

The confirmed cases of coronavirus exceeded 114 million across the globe as of Monday. The total case count reached 114,051, 765 and the death toll from the virus stood at

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Global Covid-19 cases approaching 114 million

Amid concern over the new variants of Covid-19, the global Covid-19 cases is approaching 114 million despite widespread vaccination. The global caseload reached 113,749,295 while the death toll 2,524,159 as

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Myanmar forces disperse rallies with 3 reported dead in anti-coup crackdown

Myanmar security forces violently dispersed anti-coup rallies around the country on Sunday, with reports of at least three protesters killed in the crackdown. The junta has ratcheted up its use

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Gunmen kill at least 11 in Mexico attack

Unidentified gunmen riding in a truck have opened fire with rifles to kill 11 people in Mexico’s western state of Jalisco. Jalisco, where a former governor was shot dead in

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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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