Tue, 23 Sep 2025, 10:21 am
World News

Pakistan PM Imran Khan blames India for stock exchange attack

Pakistan Prime Minister Imran Khan on Tuesday blamed India for a deadly attack on the stock exchange in Karachi, saying there was “no doubt” who was responsible. “Our security forces

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Coronavirus: Global death toll rises to 508,228

The global death toll from coronavirus reached 508,228 at 10:41am till Tuesday  (Bangladesh Time), according to latest data from worldometer. While 1,04,12,343 people have been diagnosed with coronavirus, 56,67,665 patients have recovered across the world, the

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New flu with ‘pandemic potential’ found in China

A new strain of flu that has the potential to become a pandemic has been identified in China by scientists. It emerged recently and is carried by pigs, but can

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2 Taj hotels in Mumbai get calls threatening 26/11-like attack

Two Taj hotels in south Mumbai of India received threat calls from Pakistan last night, with the caller threatening to carry out a terror attack similar to the 26/11 attacks,

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Coronavirus death toll reaches 479,879 globally

The global death toll from coronavirus reached 479,879 till Wednesday, according to latest data from worldometer. While 93,59,279 people have been diagnosed with coronavirus, 50,46,272 have recovered, the source said. Besides, 38,33,128 are active cases worldwide till

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Human error caused Pakistan plane crash that killed 97: Initial report

A plane crash which killed 97 people in Pakistan last month was because of human error by the pilot and air traffic control, according to an initial report into the

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64 Bangladeshi migrants detained from truck in North Macedonia

Police have detained 64 Bangladeshi migrants from a truck in North Macedonia border with Greece of South-east Europe. The driver evaded arrest during the inspection late Monday near Strumica in

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Taliban killed 291 Afghan security personnel in past week: govt

The Taliban killed at least 291 Afghan security personnel over the past week, a top government official said Monday, accusing the insurgents of unleashing a wave of violence ahead of

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Brazil virus toll hits 50,000 as Spain reopens borders

Brazil registered its 50,000th death from the coronavirus outbreak on Sunday, underlining Latin America’s desperate struggle to contain the disease, as Europe’s gradual emergence from lockdown was marked by Spain

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Saudi downturn deepens Yemen’s economic despair

On top of war and the coronavirus pandemic, Yemen faces looming economic disaster as a crisis gripping its main benefactor Saudi Arabia dents remittances and leaves state coffers running dry.

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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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