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Globe says $150-M submarine cable project completed by April 2023

GLOBE Telecom, Inc. on Monday said it expects its $150-million domestic submarine cable project, which now covers eight provinces, to be completed by April next year.

“The Philippine Domestic Submarine Cable Network is the longest domestic subsea cable project in the Philippines,” Globe said in an e-mailed statement.

The project, which started in July, “has landed in Lucena City, Boac in Marinduque, Calatrava in Romblon, Placer in Masbate, Iloilo City, Bacolod City, Roxas City, and most recently, the tourist island of Siargao in Surigao del Norte,” the telco added.

The eight provinces and cities are among the 33 identified landing points of the cable network, which will have a total distance of 2,500 kilometers.

The project is being carried out by Globe, Eastern Telecommunications Philippines, Inc. (Eastern Communications) and InfiniVAN, Inc.

Eastern Communications, a broadband provider jointly owned by PLDT, Inc. and Globe, has said it targets to reach more customers by boosting its network resiliency in remote and disaster-prone areas.

“Despite disruptive weather events this wet season, our project has been touching down its landing points as planned, bringing reliable fiber connectivity to remote and underserved areas,” said Arlene Jallorina, vice-president for strategic infrastructure investments for Globe Business, Enterprise Group. — Arjay L. Balinbin

Avida’s Pasay condominiums targeting young professionals

AVIDA LAND Corp. aims to attract young, value-conscious yet discerning Filipino millennials and families with its latest projects in Taft Avenue and Roxas Boulevard.

The mid-range residential brand of property giant Ayala Land, Inc. (ALI) said that its hopes are high for Centralis Towers, a one-tower high-rise development located on a 3,380 square meter (sq.m.) lot on Taft Avenue, and Patio Madrigal, a two-tower mid-rise development located on a 6,222.50 sq.m. lot on Roxas Boulevard.

“We’ve catered to the middle class before but [with these properties] we offer value in terms of space. Majority can enjoy units facing either the Makati or Malate skyline,” said Reginald D. Alabe, Avida Land’s business area head for Metro South properties, at a media briefing on Sept. 21.

“Centralis will follow the formula of our successful development in the area, Prime Taft. It targets affluent young people in Taft … For Patio Madrigal, our target is professionals who’ve established themselves but don’t want to live in Makati,” he added.

Model units for both condominiums are now available for viewing at the newly launched Avida Land showroom on the second floor of Ayala Malls Manila Bay.

Bing C. Gumboc, Avida Land’s vice-president for sales and marketing, explained that young home seekers can take the opportunity to visit the new showroom for a glimpse of “the curated Avida lifestyle in its intimate yet inspiring form.”

“We invite the younger generation, who now have an increased sense of the world. They are more into investing and taking advantage of what the world offers. They also want to retire earlier now,” she said during the same briefing.

To cater to this market, Centralis Towers provides affordable residence for a live-work-play lifestyle near three cities — Pasay, Makati, and Manila.

It will have 1,111 residential units, 285 parking units, and one retail unit. Unit sizes range from 23 sq.m. for studio and junior one-bedroom to 57 sq.m. for two-bedroom. Prices start at P6.4 million for the studio and go up to P15.9 million for a two-bedroom unit.

Centralis Towers’ amenities include a co-working space, an indoor lounge, a children’s play area, an adult pool, a garden lounge, and a wellness nook.

“Those of you who are aspiring for a place where you can nurture your passion and thrive in unlimited possibilities, we hope you can take the leap to independence and have your first investment with Avida,” Ms. Gumboc said.

Meanwhile, Patio Madrigal, a joint partnership with the Madrigal family, offers upscale yet easy living for young business owners, professionals, investors, overseas returnees, and retirees.

Its two towers will have 1,138 residential units, 341 parking units, and 11 retail units. Unit sizes range from 26.43 sq.m. for a studio to 41.38 sq.m. for a one-bedroom unit. Prices start at P10.1 million for the studio and go up to P15.8 million for a one-bedroom unit.

Patio Madrigal’s amenities include a clubhouse, a multi-function room, a garden lounge, a viewing deck, an adult pool, a kiddie pool, a children’s play area, and an indoor gym.

Mr. Alabe noted that Patio Madrigal’s location is a huge selling point as it is the first Ayala and Avida project in Roxas Boulevard, where residents can view either the famed Manila Bay sunset or the bustling metropolis’ skyline.

“Avida is still sticking to its middle-income format wherein we cater to the mid-range market, but Patio Madrigal gave us that opportunity to level it up a little bit than our usual projects,” he said.

As of September 2022, Centralis Towers is 22% sold while Patio Madrigal is 29% sold. Avida Land is expecting to complete both condominiums by the end of 2027. — Brontë H. Lacsamana

Nickel Asia buys shares in metal processing firm

NICKEL ASIA Corp. has bought 33.05 million common shares of Coral Bay Nickel Corp. (CBNC) for $25.93 million, it said on Monday.

“This investment by the company was made in furtherance of its commitments toward sustainability, environmental protection and renewable energy, since the processing of lateritic nickel ores by the CBNC plant allows the utilization of cobalt and nickel derived from such ores for manufacturing electric vehicle batteries,” Nickel Asia said in a disclosure.

Nickel Asia purchased the shares from Sumitomo Metal Mining Co., Ltd. (SMM), which is the majority shareholder of CBNC.

“The sale and purchase transaction also strengthens the long-standing partnership between the company and SMM,” it added.

CBNC operates the Coral Bay high-pressure acid leach or HPAL processing plant in Bataraza, Palawan which processes metals from lateritic nickel ore.

The acquisition of the additional CBNC shares increased Nickel Asia’s equity ownership in CBNC to 15.625% from 10%.

In the first half, Nickel Asia’s attributable net income went up by 40.3% to P3.83 billion from P2.73 billion, driven by higher nickel ore prices and favorable exchange rates.

On Monday, company shares ended lower by 1.38% or P0.07 to finish at P5.00 apiece. — Luisa Maria Jacinta C. Jocson

Making dance films more accessible

PROFESSIONAL dancer Madge Reyes had just come home from New York — where she had an artist fellowship grant in dance with the Asian Cultural Council — when the world shut down in March 2020 due to the COVID-19 pandemic. Being on the dance floor and feeling the energy of the audience was postponed indefinitely.

But it was also during lockdown that she brought dance to life online through the Fifth Wall festival.

“I had really no intentions of setting up a festival that soon, but I also realized, ‘When else?’ So, I just seized the moment since nothing was happening for live performance,” the Fifth Wall festival founder and director told BusinessWorld at a press launch at Sine Pop in Quezon City on Sept. 28.

The Fifth Wall Festival, the first and only festival for dance film, began in 2020 with online screenings of dance films, workshops, and talks.

Ms. Reyes said that dance film festivals are widely and regularly mounted in cities across America and Europe. The Fifth Wall Festival in the Philippines, it aims to “dance from all angles™” and it “works towards bridging the gap between local and international dance communities.”

This month it returns for its third edition and is moving beyond screen and stage with a hybrid event of in-person and online offerings. It will run from Oct. 7 to 16.

The 10-day festival starts with a preview of this year’s program through its opening night program, FIFTH WALL FEST 2022: An Introduction, at the Samsung Performing Arts Theater at Circuit Makati on Oct. 6.

It will include the screening of Cirio H. Santiago’s Happy Days Are Here Again (1974). The film features clips of dance in Philippine film and television history. There will also be a live performance by Steps Dance Studio and the AMP Big Band, as well as a photo exhibit featuring the works of Koji Arboleda and Renzo Navarro.

From Oct. 7 to 16, online and onsite screenings of local and foreign dance films will be available for free at the UP Fine Arts Gallery and Sine Pop in Quezon City; Tarzeer Pictures in Makati City; and online at www.fifthwallfest.com.

To be shown at the UP Fine Arts Gallery are:

• Café Müller — one of the most famous works choreographed by modern dance figure Pina Bausch. This film is a recording of its performance in August 1985 in Wuppertal, Germany, featuring Bausch.

Agnes Locsin Retrospective a special retrospective of dance performances showcasing the choreographic legacy of National Artist for Dance Agnes Locsin.

• Hoppla! — a film adaptation of Belgian choreographer Anne Teresa de Keersmaker’s creations set to the music of Béla Bartók.

Movement in FocusA special collection of 12 films featuring Butoh or the Japanese avant-garde genre on the exploration of movement.

To be shown at Sine Pop on Oct. 9 and 11 are:

• Happy Days Are Here Again — big names in Philippine film such as Gloria Romero, Nida Blanca, Dolphy, National Artist for Film and Broadcast Arts Nora Aunor, and Fernando Poe, Jr. dance onscreen in movie clips from the 1940s to 1970s.

• Temporary Fixa film by Tarzeer Pictures, it unpacks the intent and ephemerality of motions surrounding a museum incident that once broke the internet.

• StarstruckA tribute to the unique style of Hollywood actor, singer, and dancer Gene Kelly. The film is the onscreen revival of his choreography of Pas de Dieux.

• An Evening with Taglioni — A short film inspired by a bizarre event following the death of ballerina Marie Taglioni.

The online activities accessible through the festival website are a photo exhibit at Tarzeer Pictures featuring the works of Koji Arboleda and Renzo; “Kada Hakbang”, an exhibit done in collaboration with Archivo 1984, featuring a selection of Filipino film posters highlighting dance-themed titles spanning over the last 60 years on view at Sine Pop; and, a closing party and book launch of photographer Eddie Boy Escudero’s When We Danced, a book about the 1990s Manila rave scene, which will be held on Oct. 15 at the PowerMac Spotlight Center in Circuit Makati.

“We really want dance to be more accessible to the public, and film is generally an easy medium,” Ms. Reyes said. “We really hope to put Philippine dance on the map and be part of that global dance landscape.”

For more information, visit www.fifthwallfest.com and its official social media pages. — Michelle Anne P. Soliman

Kazuo Okada, allies face coercion charges over casino takeover

BW FILE PHOTO

THE Department of Justice (DoJ) has resolved to indict Japanese billionaire Kazuo Okada, Antonio O. Cojuangco, and other members of their camp for grave coercion over the alleged “forceful takeover” of casino-resort Okada Manila.

In a 25-page resolution dated Aug. 25 and marked as received by the DoJ prosecution staff on Oct. 3, the agency also dismissed for lack of evidence complaints for slight physical injuries, kidnapping and serious illegal detention, unjust vexation and direct assault charges against Mr. Okada’s camp.

“Ineluctably, respondents Kazuo, Cojuangco, Espeleta are deemed to have taken the law into their hands,” said the DoJ. Dindo A. Espeleta is an adviser to Mr. Okada’s camp.

It added that despite their claim to a status quo ante order (SQAO) issued by the Supreme Court, it does not absolve them from criminal liability for the controversial takeover of the casino resort.

The legal counsel for Tiger Resort Leisure and Entertainment, Inc. (TRLEI) earlier filed criminal complaints before the Justice department in relation to the alleged “brutal, forceful, and anomalous takeover” of Okada Manila on May 31. TRLEI is the company that operates Okada Manila.

In July, the camp of Mr. Okada issued a statement citing a Philippine Supreme Court ruling ordering an SQAO, identifying him as the lone representative of Tiger Resort Asia Ltd. (TRAL), TRLEI’s parent company, which is registered in Hong Kong.

“They precipitously went ahead of their unlawful plan to take control and possession of Okada Manila in the guise of implementing the SQAO, which contains no specifications on what respondents can only do by virtue thereof,” the DoJ added.

The High Court upheld the SQAO order in August, which reinstated Mr. Okada as chairman of Okada Manila. 

Under the Revised Penal Code, an act is considered grave coercion if a person is prevented by another from doing something not prohibited by law against his will not be, and if the prevention is caused by violence, threats or intimidation.

Mr. Okada was removed from TRLEI as a shareholder, director and company chairman in 2017 for alleged mismanagement. He temporarily serves as a board member of the firm after the High Court affirmed the SQAO.

The DoJ said that the takeover would not have happened were it not for the instructions of respondents, who were present at Okada Manila.

It noted that despite Mr. Okada not being physically present during the incident, he is still equally liable for grave coercion due to his prior knowledge of the incident.

Raoul U. Sontillano, who lawyers for Mr. Okada’s camp, did not immediately reply to an e-mail seeking comment.

Last month, the Court of Appeals affirmed the order of the Philippine Amusement and Gaming Corp. that ordered Messrs. Okada and Cojuangco to stop disbursing Okada Manila’s funds.

The office of the city prosecutors of Makati and Parañaque earlier dismissed falsification of public documents and other deceit charges against Mr. Okada’s group.

“We are grateful that the [DoJ] has started the ball rolling in advancing justice for the victims of the brutal takeover in May,” said Hans Var Der Sande, TRLEI chief financial officer and board member, in a separate statement on Monday.

“We will continue to work with our lawyers and exhaust all legal means to win this case against the Kazuo Group.” — John Victor D. Ordoñez

Mortgages approach ‘scarily high’ level in UK

REUTERS

UK LENDERS are offering mortgage rates not seen in more than a decade as market turbulence continues to upend the housing market.

HSBC Holdings Plc is advertising a two-year fixed-rate deal with 95% loan to value at 6.64% on Friday, while First Direct, a division of HSBC, has a similar deal on offer for 6.24%. Nationwide Building Society was advertising two-year fixed rate deals for 95% LTV at 6.19%.

The average rate for two-year loans at 95% of the home’s value hasn’t surpassed 5.4% since 2008, according to Bank of England (BoE) data.

“Most people would think 6.5% to 7% would be scarily high,” said Ray Boulger, a manager at loan broker John Charcol. “First-time buyers are those that will be most badly hit as they are often the ones that have to borrow at 95% LTV,” he said.

Such rates are so far limited to a small corner of the market. The 95% loan to value in recent years accounted for a fraction of all mortgage lending, according to Bloomberg Intelligence. At 75% loan to value, banks were typically offering rates ranging from about 4% to 6% on Thursday.

But it caps a wild week that saw some house sales collapse and mortgage costs soar after the UK government’s mini-budget. The average monthly cost of a two-year fixed-rate mortgage may rise by 70% by March from January this year, Bloomberg Economics estimates.

The possibility of 7% rates is raising eyebrows among brokers due to its role in helping regulators determine whether firms can withstand financial calamity.

Starting from 2014, the Bank of England’s Financial Policy Committee required lenders to test whether borrowers could withstand prices at 3% more than the reversion rate in their mortgage contract, usually around 7%. It ended the practice in August as other tests were in place.

The 7% level is also a key element of the Financial Conduct Authority’s (FCA) regime. Under FCA rules, banks stress test whether mortgage borrowers can withstand rate rises as part of their affordability checks. The FCA doesn’t prescribe this number but typically this rate has been between 6% and 7%, according to a person familiar with the matter.

Representatives for HSBC, the FCA and the BoE declined to comment. First Direct and Nationwide didn’t respond to e-mails seeking comment.

“Any number above 6% is significant,” said said Andrew Montlake, managing director at mortgage broker Coreco. “People who are re-mortgaging will have a massive payment shock.”

But current mortgage levels are already spooking the market. Ian Wyn-Jones, director of Ian Wyn-Jones Estate Agents in north Wales, said he had seen up to 18 sales collapse this week, costing him £20,000 ($22,282) to £30,000 in fees.

“Customers who thought they had their dream home have had it ripped from them,” he said by phone. “We’re talking about families with children starting high school, families of three or four living in a four-bedroom property. It’s a horrible situation for most people.” — Bloomberg

Can crowdfunded property turn rundown neighborhoods around?

WASHINGTON — When residents of a quiet neighborhood in Washington DC heard their century-old corner store would be shut down and sold, they reeled in disbelief for a few days — then went all out to save it.

“It’s always been here,” said Christine Campbell, 57, a third-generation resident whose home is just down the street from Mott’s Market.

Mott’s, she said, was stitched into her daily routine, as it was for many in her Capitol Hill neighborhood.

“From any memory I have, it was running to the corner store to pick up bread, pick up milk — just all of the basics,” she told the Thomson Reuters Foundation, standing outside the small, two-storey brick building, its door locked since March.

That door may soon be unbolted.

Next week, Ms. Campbell and about 40 other investors get to buy the building, after a blitzkrieg of yard signs, online campaigning and door-to-door mobilization.

“It was really leapfrogging from one person’s set of neighbors and friends to another person’s neighbors and friends,” said Michael Skinner, 48, a leader of the effort.

“It took a crowd of people.”

The Capitol Hill campaign was a labor-intensive one-off, but the idea of harnessing small-scale investors for real estate development is gaining momentum nationally, boosted by digital platforms and federal rule changes that green-lit such financing then raised the cap on what developers could raise.

Backers say the approach opens up real estate investing to a broader pool of buyers and gives locals a say in neighborhood investments — and a stake in any profits, too.

It draws elusive finance to offbeat projects and often marginalized female and minority developers, said Molly McCabe, chief executive of HaydenTanner, an investor advisory firm.

“Real estate has traditionally been left to those who already have money to make more money. And crowdfunding gives you a platform to democratize that,” she said.

“This is one way to really ensure the community gets to participate and benefit from what’s being created, and to have a sense of ownership.”

HAVE OWNERSHIP
Crowdfunded real estate took off after a law change went into effect in 2016 that liberated US investments from the books of accredited advisers, opening deals to new players.

Globally, crowdfunded real estate is expected to grow to nearly $869 billion in 2027 from $13.2 billion in 2018, according to market researchers Facts and Factors Research.

Lyneir Richardson, a real estate developer and chief executive of Chicago TREND, a social enterprise, took his first dive into crowdfunding last year.

He crowdfunded part of the purchase of Walbrook Junction, a 40-year-old shopping center in Baltimore that he said was once a center of the Black community but has seen major decline.

Now the idea is to resuscitate Walbrook Junction and breathe life and wealth back into a rundown neighborhood.

Mr. Richardson held more than 60 meetings with religious groups, parents, senior citizens and other locals to spread the word.

Eventually, 130 Black investors wrote checks ranging from $1,000 to $50,000, Richardson said — and “nine in 10 are individuals that care about the neighborhood or have some connection to the neighborhood.”

He is also applying for city funding and says the crowdfunding will help: “It’s me and 130 local Black investors saying it’s important for neighborhood revitalization.”

Social entrepreneur Jeff Billingsley said he jumped at the opportunity to invest in Walbrook Junction — as did a relative, after he shared details on social media.

“People normally don’t know about things of this nature happening in communities of color. This is a solution to have ownership in something you can say is helping to improve the economy of urban communities,” said the 54-year-old.

‘IN YOUR OWN BACKYARD’
A few miles east, Joanna Bartholomew also used crowdfunding to raise capital for Aruka Midway, hoping to restore a run of 23 Baltimore row houses that have sat vacant for decades.

“We did it with the purpose of showing people you can have a stake in the neighborhoods you’re from, or neighborhoods that remind you of where you grew up,” said Ms. Bartholomew, chief executive of O’Hara Developments.

“That you’re able to invest in your own backyard.”

It was her first try at crowdfunding — Ms. Bartholomew said it took way more work but brought in nearly 80 new backers.

Both Ms. Bartholomew and Mr. Richardson raised capital through an online platform called Small Change, which architect and urban designer Eve Picker launched in 2016. The platform has helped raise $11 million to build housing for homeless people, turn empty buildings into corner shops, put retail in food deserts “and everything in between,” she said.

Over half the developments are owned by women or minorities, Ms. Picker said, and most would not have drawn traditional capital backing, which generally prioritizes quick returns.

“Projects like these require patient, money and a long-term hold,” she said. “You have to wait while the neighborhood catches up.”

Still, crowdfunded real estate remains a niche business, with developers limited in how much they can raise.

Some platform-based investing has also drawn fire for snapping up housing for investors rather than for home buyers.

NEIGHBORHOOD SCALE
In Los Angeles, a crowdfunding platform called Fundrise is seeking to corral investors to revitalize an entire neighborhood.

Unlike Small Change, which acts only as a platform, Fundrise raises money for its own development work.

“We build new housing, we redevelop under-utilized buildings, we develop and add productivity, and then the investors get the benefit of that,” said chief operating officer Brandon Jenkins.

After a decade in business, it has nearly 350,000 investors and $3 billion in equity, he said.

In the Los Angeles neighborhood of West Jefferson, Fundrise has purchased a dozen properties and is redeveloping them into spaces that can host restaurants, bookstores, creative businesses and more.

More than 20,000 investors are involved in what the company estimates will be a decade-long, $120-million project, he said.

“We have a lot of investors who live in Los Angeles and love that they understand where these projects are,” Mr. Jenkins said.

“Others don’t and are in it for the investment return, but they tend to have a little more pride of ownership in what they’re investing in,” he said.

Back in Washington, Mott’s Market supporters echoed those sentiments; nobody is expecting to hit jackpot.

“We knew there was no quick return,” Ms. Campbell said. “We were all investing in the community.” — Thomson Reuters Foundation

The Thomson Reuters Foundation is the charitable arm of Thomson Reuters.

Before swine

A SCENE from the film Pearl

Movie Review
Pearl
Directed By Ti West

(Warning: plot twists discussed in explicit detail).

TI WEST’s Pearl (2022) is several things at once: 1.) a horror film; 2.) a prequel; 3.) a claustrophobic character sketch of two women percolating in a pressure-cooker setting.

Call the film West’s attempt, successful or unsuccessful, at feminist horror. Two powerful women, one innocent, the other all too painfully aware, hiding away from the world — ostensibly out of fear (it’s 1918 and the Spanish flu held illimitable dominion over all), later (it’s suggested) for more covert reasons.

Ruth (Tandi Wright) is a god-fearing woman trying to run her farm, care for her infirm husband (Matthew Sunderland), keep her daydreaming daughter Pearl (Mia Goth) grounded and it’s a struggle: the farm is an uphill climb of backbreaking chores, the husband an endless cycle of cleaning and feeding, cleaning and feeding. Pearl is a struggle of a different kind: she’s perfectly healthy — perhaps too healthy — and has notions of someday leaving the farm with her husband Howard (who is fighting in the trenches of the First World War) or leaving the farm to become a dancer. Ruth has bound Pearl with a strict regimen of rules and routines, mostly using the pandemic and fear of a largely unknown world as an excuse. You can go out and try, she tells Pearl with relish, but you’ll always end up here with me.

But Pearl’s too full of drive. In the first half the film turns out to be that kind of horror story, of a repressive mother trying to bury her daughter under the tedium of domesticity. Odd details mar the story’s surface though, throw the viewer off: why when Ruth lays down the law is there an extra tremble to her voice? Why when she glares at Pearl is her look a tad too intense, her posture a bit too stiff, as if she’s willfully ignoring an immediately apparent fact? And why, when a goose stands arrogantly before the young woman, does her grip tighten round the pitchfork shaft?

As Pearl spreads tentative wings and explores (furtively, behind her mother’s back) that outer world in earnest, meeting a movie projectionist (David Corenswet) in the big city on the sly, agreeing to accompany her sister-in-law Mitsy (Emma Jenkins-Purro) to a dance audition (hoping to win a part for herself), Ruth responds with more panic than anger. She sees things, she tells Pearl; she knows more than her daughter thinks she knows — and as Ruth says this the words sound less like a warning and more like an admission. Around this point the film turns into a different kind of horror story: from monstrous mother oppressing innocent child to monstrous child surging past hard-pressed mother’s tenuous grasp.

It’s a measure of West’s achievement, directing from a script by Goth, that he uses the point-of-view camera (from Hitchcock by way of John Carpenter) in such a deft distinct way, suggesting, yes, much of this is being told through Pearl’s eyes, but Pearl isn’t understanding everything she sees, and watching her we don’t fully understand either. Why does Ruth weep alone behind closed doors? Why is the projectionist so gentle in his attempted seduction of Pearl? Why, when Mitsy sees the roast pig heaving with maggots at Pearl’s front porch, does she step in anyway, sitting at the kitchen table and asking Pearl to confide in her? Pearl sidles along hallway and alley, through rows of high corn, and encounter mystery after mystery; the camera sidles alongside and we gaze at Pearl herself, the film’s central mystery. West’s previous film, X, chronicles the sequel to all this, a behind-the-scenes porn comedy turned slasher horror that takes inspiration from The Texas Chainsaw Massacre, which makes sense — slasher begets slasher. But a slasher inspired by Douglas Sirk?

Makes perverse sense: Sirk’s camera glides warily through the garish-colored sets of his films and recognized the artificiality of 1950s society; his protagonists attempt to defy (or are destroyed by) this artificiality. West’s glides through Pearl’s farmhouse and recognizes in turn the artificiality of her family life; family and acquaintances walk into that artificiality at their peril.

Plus, there’s a pleasure to be had — Hitchcock by way of Carpenter — in the long-take suspense sequence, the danger generated not by a sudden shock cut but by carefully crafted mis-en-scene, emphasized by a slow stalking camera (I refer in particular to Mitsy exiting Pearl’s farmhouse to leave in her car). You can see what’s coming, you know what’s coming, but knowledge and inevitability doesn’t diminish the impact — if anything enhances it, gives you the sense of a car in a slow-motion skid, front fender pointed straight at the guard rail.

As Ruth, Tandi Wright delivers a large-scale portrait of the strict ascetic mom with a heavy Teutonic accent, then furtively shows you the cracks in the facade, the fear and loneliness of a woman raising a dangerous prodigy by herself for so long. And there’s love — that’s the sting of it; you get the sense that Ruth does at some level love her daughter, has sacrificed her own well-being for years trying not so much to imprison Pearl as shelter her from an unwitting, uncaring world. Jenkins-Purro and Corenswet as Mitsy and Pearl’s bohemian projectionist represent that larger world, decent everyday people who make the effort to try reach out to the young woman, and are burned in the process.

Mia Goth’s Pearl is all yearning and love but when that love is rejected she short-circuits and lashes out. Something’s missing in her, something that should have helped her recognize what in Ruth and Mitsy and her bohemian lover draws them to her, is her cue to respond in kind — and that lack or gap or (if you like) defining absence in her is the source of the film’s horror. Philip K. Dick once proposed that this difference is what separates humans and non-humans, even wrote a book about it (Do Androids Dream of Electric Sheep?) that has been adapted into at least two films (Blade Runner; Blade Runner 2049). Goth’s heroine is one more case study on the issue, and the sting of it is that we still care; we still root for Pearl because something in even the best of us is terrified of rejection and loneliness, is terrified of the monster in us, suddenly exposed for all to see.

Vista Land expects OFWs to drive demand

Villar-led Vista Land & Lifescapes, Inc. said on Monday that it sees demand in its property segment to increase due to renewed spending confidence of overseas Filipino workers (OFWs) as the dollar appreciates.

“We are slated to launch more projects this quarter as we take advantage of the renewed confidence from our overseas Filipino buyers. Such confidence is also seen in the performance of our retail stores which translates to better mall revenues,” Vista Land Chairman Manuel B. Villar, Jr. said in a press release.

Vista Land said that sales of its residential projects have been on an increasing trend with OFWs benefitting from the higher peso value of their dollar remittance.

In the first half, Vista Land launched P11-billion worth of projects, already exceeding the number of projects it launched in 2021.

Meanwhile, the company saw an improvement in the foot traffic in its malls as people continued with their revenge shopping.

“We are excited going into the last quarter of the year with both our residential and leasing businesses continuing with [their] upward trend,” Mr. Villar said.

Vista Land said that it has zero exposure to Philippine offshore gaming operators and has instead been banking on its residential communities for mall developments and the business process outsourcing industry for office tenants.

“Majority of the company’s gross floor area of investment properties are community-based malls and commercial centers,” the company said.

“Our residential business is self-funding as 80% of our buyers are mortgaged finance while the expansion of our leasing business will be through our REIT (real-estate investment trust) offerings,” Vista Land President and Chief Executive Officer Manuel Paolo A. Villar said.

“We also have a diversified funding source which is a factor to our liability management exercise,” he added pointing to Vista Land’s debt-to-equity ratio that stood at 0.88 by the end of June.

The company said that it will be launching more projects from its over 60 Vista Estates developments around the country.

Vista Estates is “Vista Land’s version of integrated development of horizontal and vertical residences, commercial spaces, office components and lifestyle options that is aimed for sustainability, innovation, lifestyle-driven, world-class and primed for growth.”

On Monday, shares of Vista Land closed higher by four centavos or 2.50% to P1.64 apiece. — Justine Irish DP. Tabile

Entertainment News (10/04/22)

P-POP GIRL group KAIA

Time travel show on Korean Viu Originals 

NEW Korean shows centered on getting second chances can be seen on Viu . There is the time-travel historical drama Moon Lovers: Scarlet Heart Ryeo, where star-crossed lovers meet again in the present after a tragic ending to their previous romance; and the fantasy-thriller romcom My Love From the Star, where an immortal alien finds the reincarnated version of his true love who had died several hundred years ago. These two shows are now available on top K-content streaming service Viu. Other shows on second chances are Viu Originals Again My Life; From Now On, Showtime; and Why Here. K-drama fans can access unlimited entertainment via PLDT Home Fiber which, at P80/month, offers the cheapest Viu Premium access in the Philippines and charges it to every subscriber’s monthly bill. For more information, visit https://pldthome.com/viu. 


Ysa Yaneza releases new single

SINGAPOREAN-Filipino singer-songwriter Ysa Yaneza returns with a new single, “1Nightwitu,” which celebrates women empowerment and encourages women to embrace their sexuality and value their self-worth. According to Ms. Yaneza, the song is also about knowing one’s self, exuding confidence, and promoting self-love, especially in a time when society is still conflicted on how women should carry themselves in public. Ms. Yaneza wrote the song and it is co-written/produced by LA-based artist Shubu, who has worked with international music acts such as Paul Cherry, Anna Burch, and Dorian Electra. Its accompanying music video, directed by Jaig D Guzman, will be released on Oct. 4. “1Nightwitu” is the official lead single of her upcoming self-titled EP, YSA. Ms. Yaneza is in Manila in November to promote the EP. “1Nightwitu” is available on all digital music platforms worldwide. 


Ed Sheeran does a Pokemon song

SINGER Ed Sheeran has collaborated with The Pokémon Company on a new song, “Celestial.” The special track will appear in the upcoming video games, Pokémon Scarlet and Pokémon Violet, which are launching on Nov. 18 exclusively on the Nintendo Switch family of consoles. A music video for the song is now available on Mr. Sheeran’s official YouTube channel. The “Celestial” video is inspired by Sheeran’s childhood fascination with the franchise and features some of his favorite Pokémon such as Pikachu, Squirtle, Machamp, Snorlax and more. It follows a typical day in Mr. Sheeran’s life with a Pokémon twist and was directed by Yuichi Kodama. The video is full of easter eggs for fans to discover and transports viewers back to a simpler time in their childhood when the sky was the limit. “I’ve played Pokémon since I was in primary school,” said Mr. Sheeran in a statement. “Me and my brother used to have different versions of the games and would trade Pokémon together ‘til we each completed our Pokédex. I loved the cards but the games are what I lost myself in. I loved the whole world they created; it kept me distracted if there was negative stuff happening in my life/school that I wanted to avoid. It was a world I could escape into and I’ve played it ever since. Even though I’m 31 now, I still own the same Game Boy Color and play Pokémon Yellow or Silver on planes and trains when I’m on tour. It’s such an honor to add a song into a Pokémon game and shoot a nostalgic video too,” he said. “Celestial” is available now to purchase and stream on https://edsheeran.lnk.to/celestial. For more information on Pokémon Scarlet and Pokémon Violet, visit: https://scarletviolet.pokemon.com/en-us/.


KAIA releases new single

P-POP GIRL group KAIA explores a more R&B-leaning direction in their new single “Dalawa,” released under Sony Music Entertainment. “Dalawa” is a song that tells a story familiar to many: catching unrequited feelings for someone close to you,” the group said in a statement. “While it veers away from the upbeat, dance-pop tunes that we’ve been dishing out since our debut, this particular material sticks to our strengths as a girl group.” “Dalawa” is available on all digital music platforms worldwide.


Money Heist spinoff begins production

THE NEW cast of Netflix’s Berlin, a spinoff of La casa de papel (a.k.a. Money Heist), has begun filming in Paris this month and will take place over several weeks between the French capital and Madrid. The show follows the most extraordinary heists of Berlin, the character played by Pedro Alonso in La casa de papel. Alongside him, his new gang: Michelle Jenner plays Keila, an expert in electronic engineering; Tristán Ulloa plays Damián, a philanthropic professor and Berlin’s confidant; Begoña Vargas plays Cameron, a kamikaze who always lives on the edge; Julio Peña Fernández brings to life Roi, Berlin’s faithful squire; and Joel Sánchez plays Bruce, the relentless man of action in the gang. The eight episodes of the series, created by Esther Martínez Lobato (La casa de papel, Sky Rojo) and Álex Pina (La casa de papel, Sky Rojo), and will be directed by Albert Pintó (Sky Rojo, Malasaña 32), David Barrocal (Sky Rojo, La casa de papel), and Geoffrey Cowper (Day Release).

PDO says Pampanga project remains ‘flood-free’ 

PUEBLO DE ORO (PDO) said residents of its subdivisions in San Fernando, Pampanga have benefited from the flood control measures it put in place since the projects were developed twenty years ago.

In a statement, PDO said it commissioned a flood water study before starting development activities for its residential subdivisions — Horizon Residences, La Aldea Fernandina and Park Place Pampanga.

It spent around P150 million to elevate the 30-hectare property by 1.5 to 3 meters above its original level.

PDO also introduced an efficient drainage system that “allows rainwater to spread through different canals and freely run off, thus preventing the accumulation of water.”

PDO said its residential projects in Pampanga have never experienced flooding, even during strong typhoons that flooded surrounding areas.

“Pueblo de Oro has always believed in putting quality and responsible engineering and design foremost into its developments,” PDO Senior Vice-President Leonardo B. Dayao, Jr. was quoted as saying.

Gov’t rejects all bids for T-bills as rates rise ahead of CPI data

BW FILE PHOTO
THE GOVERNMENT rejected all bids for its offer of Treasury bills on Monday as invetors wanted higher rates. — BW FILE PHOTO

THE GOVERNMENT rejected all bids for its offer of Treasury bills (T-bills) on Monday as the market wanted higher rates on expectations of faster September inflation, which may prompt further tightening from the central bank.

The Bureau of the Treasury (BTr) did not award any T-bills on Monday as its offer went undersubscribed, with bids at just P14.2 billion versus the P15 billion on the auction block.

Broken down, the Treasury turned down all bids for the 91-day T-bills even as total tenders for the tenor reached P5.78 billion, above the P5-billion plan. Had the Treasury made a full award, the three-month debt paper would have fetched an average rate of 4.66%, surging by 234.2 basis points (bps) from the 2.318% fetched for the last successful award of the tenor on Sept. 5.

The BTr also rejected all tenders for the 182-day securities, with total bids coming in at P4.78 billion, lower than the programmed P5 billion. For a full award, the average rate of the six-month T-bill would have gone up by 94.40 bps to 4.902% from the 3.958% quoted for the tenor at last week’s auction.

Lastly, the government did not award any 364-day debt papers as demand stood at only P3.678 billion, below the P5-billion offer. Had the Treasury accepted these bids, the average yield on the one-year T-bill would have jumped by 115.5 bps to 4.937% from the 3.782% fetched for the tenor when they were last awarded on Aug. 22.

At the secondary market prior to the auction on Tuesday, the 91-, 182-, and 364-day T-bills were quoted at 3.153%, 3.8422% and 3.9022%, respectively, based on the PHP Bloomberg Valuation Service Reference Rates data provided by the BTr.

National Treasurer Rosalia V. de Leon said in a Viber message to reporters after the auction that the BTr rejected all bids for the T-bills as the rates sought by investors were too high.

“The rates offered are untenable even after considering aggressive statements from both Fed (Federal Reserve) and BSP (Bangko Sentral ng Pilipinas). The BTr is still in a good position to make a rejection with revenue outperformance,” Ms. De Leon said.

The Treasury reported last week that the government’s revenue collections reached P2.4 trillion at end-August, up 18.09% year on year and already at 72% of the full-year program of P3.3 trillion.

A trader said the market was “defensive” ahead of the release of September consumer price index (CPI) data on Oct. 5.

“Demand will probably shift to [Tuesday’s] three-year paper, especially if it is near 5.625% to 5.75%,” the trader said, referring to the scheduled auction of reissued T-bonds.

Rizal Commercial Banking Corp. Chief Economist Michael L. Ricafort likewise said yields were high on expectations of a faster September headline inflation print, which may prompt aggressive rate increases from the BSP.

“The weaker peso recently would also increase the odds of further local policy rate hikes,” Mr. Ricafort said.

Headline inflation likely peaked anew last month amid higher electricity rates and food prices, as well as the continued weakening of the peso versus the dollar, analysts said.

A BusinessWorld poll of 13 analysts yielded a median estimate of 6.7% for the September CPI, near the lower end of the central bank’s 6.6-7.4% estimate for the month.

If realized, this would be faster than the 6.3% print in August as well as the BSP’s 5.6% forecast and 2-4% target for the year.

BSP Governor Felipe M. Medalla last month said the central bank may need to continue hiking rates as the peso’s continued decline against the dollar due to a hawkish Fed poses a risk to inflation. The Monetary Board has hiked rates by 225 bps since May to rein in prices.

Meanwhile, the US central bank has raised borrowing costs by 300 bps since March, with Fed chief Jerome H. Powell earlier saying they are strongly committed to bringing down inflation and may need to keep rates high for longer to achieve this goal.

The BTr plans to borrow P200 billion from the domestic market this month, or P60 billion via T-bills and P140 billion from Treasury bonds.

The government borrows from local and external sources to help fund a budget deficit capped at P1.65 trillion this year, equivalent to 7.6% of gross domestic product. — Diego Gabriel C. Robles