Home Blog Page 5855

DoE clears Razon takeover as Malampaya operator

THE Energy department has approved the sale of the 45% stake of Shell Philippines Exploration B.V. (SPEx) in the Malampaya deepwater project to a subsidiary of Razon-led Prime Infrastructure Capital, Inc.

In a press release on Monday, the Department of Energy (DoE) said Prime Infra was found to be technically, financially, and legally qualified as an operator of the Malampaya gas-to-power project.

The DoE, led by Secretary Raphael P.M. Lotilla, said that upon its review, SPEx will now become a wholly owned subsidiary of Prime Infra.

SPEx, as a unit of Prime Infra, will continue to operate Service Contract (SC) 38, which covers the Malampaya project located northwest of Palawan island in the West Philippine Sea.

The DoE said that its review “has considered the need to maximize the utilization of the existing petroleum resources in Malampaya [SC] 38.” It added that the Shell group “has underlined” to the department “that it has decided to exit from upstream petroleum activities in the Philippines.”

It cited Presidential Decree 87 and DoE Department Circular No. DC 2007-04-0003 as the basis for the transfer of rights and obligations in petroleum service contracts.

Separately, Prime Infra said in a press release that before the DoE approval, the Malampaya SC 38 consortium members gave their consent to the sale. It was referring to UC38 LLC and state-led PNOC Exploration Corp., which hold 45% and 10%, respectively.

Enrique K. Razon, Jr., chairman of Prime Infra, said that his group welcomes the DoE’s “thorough review” and subsequent approval of the SPEx sale “given the urgency to sustain the operations of Malampaya — a vital energy installation and symbol of national pride— and to plan for the further development of the existing reserves in light of the current power undersupply.”

“We will contribute by doing all that can be done to produce as much gas as possible to sustain production in support of the power demand in Luzon,” Mr. Razon added.

Prime Infra said that it is expected to assume full ownership of Malampaya on Nov. 1, once the transition process for the handover of SPEx’s operation is completed.

The DoE said that Malampaya supplies up to 20% of Luzon’s total electricity requirements but the consortium’s license for the project is set to expire in 2024. — Ashley Erika O. Jose

Global Ferronickel acquires 20% stake in Chinese firm

GLOBAL Ferronickel Holdings, Inc. has acquired a 20% stake in Guangdong Century Tsingshan Nickel Industry Co., Ltd. (GCTN), it disclosed on Monday.

“The acquisition is expected to create reliable and consistent synergies between FNI (the company’s stock symbol) as a nickel ore supplier and GCTN as a value-added processor, and support our ongoing diversification projects to boost profitability,” Global Ferronickel President Dante R. Bravo said in a disclosure.

The acquisition was made through the purchase of shares in GHGC Holdings, Ltd. (GHL). GHL owns 90% of the GCTN stock portfolio.

In a separate disclosure, Global Ferronickel further said that it signed a share purchase agreement to acquire 22.22% shareholding in GHL for $75 million.

“This shareholding gives Global Ferronickel 20% indirect ownership in GCTN and provides experience and capabilities in value-added processing of nickel ore,” according to the company.

GCTN is a Chinese nickel alloy enterprise that operates smelters with rotary kiln-electric furnace technology. It produces about 28,000 tons of pure nickel annually.

The firm also has a 33-hectare facility employing over 600 employees. Its customers are mainly from Guangdong’s Economic and Technological Development Zones and abroad.

“This initiative will help manage risks, optimize value to stakeholders, and develop downstream integration of the value chain,” Global Ferronickel said.

“To complement its expansion targets, the company continues to pursue investments in high-growth firms and industries that can enhance operational and cost efficiencies,” it added.

In September, the firm announced that its affiliate Ipilan Nickel Corp. completed its maiden shipment of nickel ore for export to China.

It exported 54,700 wet metric tons (WMT) of medium-grade nickel ore to GCTN from its mine site in Brooke’s Point, Palawan.

Global Ferronickel also noted that Platinum Group Metals Corp. (PGMC) is its subsidiary and Ipilan Nickel Corp. is an affiliate.

“PGMC is a leading nickel ore producer, while Ipilan Nickel has just conducted its maiden shipment of nickel ore to China,” it added.

Global Ferronickel said it is diversifying its investments towards high-growth firms and industries that can provide operational synergies and improve cost efficiencies to complement the growth potential of the company’s nickel mining business.

“The business diversification initiatives will provide risk reduction and optimal value to stakeholders. This results in vertical integration of the value chain,” it added.

Global Ferronickel has interests in nickel ore mining, logistics, cement and steel production, and port operations.

In the second quarter, the firm’s net income dropped by 16.2% to P615.58 million from P734.56 million in 2021.

At the stock market on Monday, Global Ferronickel shares declined by 4.31% or 10 centavos to close at P2.22. — Luisa Maria Jacinta C. Jocson

PLDT receives P57.7 billion from sale of 4,435 towers

THE PLDT group on Monday said it recently received P57.7 billion from the sale of 4,435 telecom towers.

“As of Oct. 3, ownership of a total of 4,435 towers or 75% of the 5,907 towers covered by the sale and leaseback transaction had been transferred to the tower companies,” PLDT, Inc. said in a disclosure to the stock exchange.

“Proceeds from the sale of the towers would be used to pay down debt, and support operating and capital expenditures,” it added.

The group is currently studying the “sale of telecom towers in addition to the 5,907 towers.”

The group announced in April that its subsidiaries, Smart Communications, Inc. and Digitel Mobile Philippines, Inc., had signed sale and purchase deals in connection with the sale of 5,907 telecom towers and related passive telecom infrastructure for P77 billion to the subsidiaries of international telecommunications infrastructure services companies edotco Group and EdgePoint.

The 5,907 towers — almost half of PLDT’s total tower portfolio — are spread across the Philippines, with 2,973 being acquired by ISOC edotco Towers, Inc., a subsidiary of edotco Group, and 2,934 towers by Comworks Infratech Corp., a subsidiary of EdgePoint.

“The transaction is timely as it allows PLDT to avoid additional debt against a backdrop of a rising interest rate environment,” PLDT said.

“PLDT expects additional closings before the end of the year, with final closing anticipated to be completed by the first quarter of 2023,” it added.

PLDT shares closed 1.19% lower at P1,490 apiece on Monday.

Hastings Holdings, Inc., a unit of PLDT Beneficial Trust Fund subsidiary MediaQuest Holdings, Inc., has a stake in BusinessWorld through the Philippine Star Group, which it controls. — Arjay L. Balinbin

Cemex Holdings unit suspends terminal operations in Davao

CEMEX Holdings Philippines, Inc. said one of its subsidiaries has temporarily suspended terminal operations due to surging operational costs and the entry of Vietnamese cement imports.

In a statement on Monday, Cemex said APO Cement Corp. has temporarily stopped the operations of its Davao cement terminal, which has a daily dispatching capacity of 25,000 bags.

“Our operational costs in maintaining the Davao terminal have increased and continue to increase, while our volumes are decreasing due to the unabated entry of cement imports from Vietnam. Given these, we are constrained to suspend terminal operations in Davao,” Cemex Vice-President for Supply Chain Edwin P. Hufemia said.

“This suspension of our operations in the Davao terminal will allow us to continue focusing on efficiently running our plant and other terminals and warehouses in order to cope with these current challenges,” he added.

Despite the temporary suspension, Mr. Hufemia said that the supply and delivery of the company’s cement will be unaffected.

The cement manufacturing plant of APO Cement is located in Naga City, Cebu.

“We remain committed to supporting the country’s development program and support the administration’s Build, Better, More infrastructure program, and we assure the public that there will be no disruption on the supply and delivery of our cement,” Mr. Hufemia said.

In December last year, the Department of Trade and Industry imposed provisional anti-dumping duties on specific cement brands imported from Vietnam.

Dumping happens when exporters sell their products to an importing country at a lower price compared to their normal value when used in the domestic market.

Currently, there is a pending case in the Tariff Commission regarding a petition for anti-dumping filed by local cement manufacturers against ordinary Portland cement type 1 and blended cement type 1P imports from Vietnam. — Revin Mikhael D. Ochave

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.