Latest news with #MajesticHotel
Daily Tribune
3 hours ago
- Business
- Daily Tribune
61 Filipinos successfully complete separate skills training programs
A total of 61 Filipinos successfully completed their respective skills training programs during two separate seminars held on Friday, May 30, at the Philippine Embassy and the Majestic Hotel in Bahrain. The skills training in Baking and Haircutting, Manicure, and Pedicure were among the continuous initiatives in extending Overseas Filipino Workers (OFWs) with better knowledge and skills that would be applicable to career improvement, financial self-sufficiency, and integration upon returning Philippines in the future. Overseas Workers Welfare Administration (OWWA) Welfare Officer Juvilyn Anns Gumabay and Migrant Workers Office Officer in Charge (OIC) Celia V. Cabadonga commended the graduates on their endeavor to become better persons and encouraged other OFWs to grab similar chances in the future. Morning session In the morning session, 32 Filipinos graduated from a baking skills training, while in the afternoon, 29 others completed training in hairdcutting, manicure, and pedicure. Participants expressed appreciation for the opportunity to enhance their capabilities while working abroad, highlighting the importance of such programs in broadening employment options and building long-term security for themselves and their families. Attendee Ofelia Madriaga, 61, from Pamplona, Cagayan Valley, and a member of the Filipino community organization Pinay Ikaw Na (PIN), was among the proud attendees of the recent training.
The Guardian
3 days ago
- Entertainment
- The Guardian
Trying to get rid of noisy, food-stealing gulls is missing the point – it's humans who are the pests
At this year's Cannes film festival, some unexpected hires joined the security detail at luxury hotel the Majestic. They were clad not in kevlar but in deep chestnut plumage, with wingspans up to four feet, talons for toes and meat-ripping ebony beaks. The new recruits were Harris hawks and their mission was clear: guard stars from the aerial menace of gulls daring to photobomb or snatch vol-au-vents. This might sound like an extreme solution to a benign problem – after all, haven't most of us lost sandwiches to swooping beaks and come out relatively unscathed? But as these notorious food pirates come ashore in growing numbers, cities around the world are increasingly grappling with how to manage them. Hiring hawks from local falconer Christophe Puzin was the Majestic's answer to curbing gull-related incidents (such as Sophie Marceau's 2011 wine-on-dress situation). But in metropolises such as New York, Rome, Amsterdam and London gulls are widely considered a menace, too, as they take up permanent residence on urban stoops. Gulls seem to be louder than ever, which makes it easy to forget their status as seabirds in crisis. All of the more than 50 global species of gull are falling victim to fragmenting habitats under conflicting marine policy measures, devastating avian flu, and even brain damage and organ failure resulting from plastic ingestion. In the UK, this torrent of trouble has rendered many species of gull in decline. Predator-free rooftops have enticed them from the waves since the 1940s and, broadly speaking, gulls have adapted well to their changing environment – even becoming effective urban seed dispersers. Lamp-posts have replaced cliff ledges, buildings are islands, landfill is rocky shore. One study found that gulls can recognise human routines, with their presence around schools tripling during mealtimes. Their adaptation – however bothersome it might be for us – has driven their survival. Perhaps acknowledging this could help us to live alongside them. As we have no licence to either capture or kill these birds, introducing hawks as agents of natural gull control is one method of regulating human/gull interaction. Some councils have produced gull awareness campaigns, encouraging locals to report nesting and not to feed them. Others default to installing physical barriers, such as spokes and spikes, to discourage gulls' resting sites. Such measures are expensive for local authorities and their effectiveness is inconclusive. Some councils, such as Carlisle, opt for a more covert approach, threatening gulls more gently in the form of hawk-like kites. In Exeter, Deliveroo trialled 'repellent' audio tracks, broadcasting recorded falcon cries and gull distress calls to deter them. Researchers at the University of Exeter have also investigated the benefit of holding eye contact with a gull, in making them think twice about stealing food. But such an array of anti-gull options perpetuates the patronising narrative of these animals as pests. The fact that gulls are thriving in cities points to our own ecological failures as a society. Global household waste is growing rapidly, most of which is thrown into landfill, where it is left to rot, releasing large amounts of methane – a greenhouse gas 80 times more harmful than carbon dioxide for 20 years after its release. We aren't so much giving gulls an ocean eviction notice as we are begging for them to come inland, feeding their instinct to dive, rip and smash around us – one bin day at a time. So what are urban gulls, if not a menace? Perhaps, in Cannes, they're a message of timing. The film festival takes place in May, during gull breeding season (April to July). It is a period when gulls are loud and chaotic, their defensiveness spiking when hatching and fledging; and when food is visible, we're baiting them with easy pickings. With broods to protect, reflexes are heightened. It is easy to conflate gulls' seasonal survival with year-round behaviour. On wilder shores, these periods of increased activity would unfold unnoticed. But we have altered ecological niches to make cities too tempting, deforming the instincts of species trying to adapt with acts of imagination and resilience. As a long-living social species that has mastered feats of adaptation, gulls have much to teach us. And as they adapt to urban habitats, we must also learn to live alongside them. This offers us a chance to change the story, to shape the future of shared urban spaces. Spaces where festival organisers align with nature's calendar, and the rhythms of life are respected. Spaces where waste is not just managed, but reimagined. Spaces where human impact is studied with intent, not ignorance. Spaces that would allow our relationship with the wild to mature so profoundly, conflict would become obsolete. Sophie Pavelle is a writer and science communicator
American Press
31-05-2025
- General
- American Press
The Informer: Imperial Calcasieu Museum reflective of local history
The Imperial Calcasieu Museum is itself reflective of local history. The bricks were salvaged from the old Missouri Pacific Railroad station. The white columns are from the once-proud Majestic Hotel — a Lake Charles landmark that was demolished in the late 1960s — and the beams and balustrades are from old homes of the area. The 4,000-square-foot building, constructed at a cost of $100,000, sits on about an acre of land at the corner of Sallier and Ethel streets. 'The queen of the grounds is the historic Sallier Oak with its wide-spreading branches,' according to a May 31, 1981, edition of the American Press celebrating the 18th anniversary of the museum. Thought to be planted by Charles Sallier when he came to Lake Charles in 1783, 'records show that the land where the oak and the museum are situated was presented in 1860 by Catherine LeBleu Sallier.' The tree is registered as a member of the Live Oak Society of the Louisiana Garden Club Federation. A historical marker was placed near the tree by the Daughters of the American Revolution. In March of 1963, the Junior League of Lake Charles established the Imperial Calcasieu Historical Museum, later to become the Imperial Calcasieu Museum. 'The museum was first located in City Hall, then some months later, in December of that same year, the museum was moved to the historic little brick building at 1019 Lakeshore Drive through the cooperation of the Calcasieu Parish Police Jury,' the newspaper reports. The latter location now serves as the Junior League headquarters. The third — and current — location of the museum is at 204 W. Sallier St. Both the land and the Louisiana Colonial brick building were gifts from Mr. and Mrs. Frank Gibson and Dr. and Mrs. Garnett Barham. Imperial Calcasieu originally compromised what is now Allen, Beauregard, Calcasieu, Cameron and Jeff Davis parishes. 'Relics to be found in the museum date back as far as the time of the Indians — remains of Indian pottery found in the lake and arrowheads found in the area,' the 1981 edition reported. 'Cannon balls believed to be from one of Jean Lafitte's ships are also among artifacts. These were discovered when Contraband Bayou was dredged some years ago, a museum spokesman said,' the newspaper reported. Other items include historic photographs of early Lake Charles; the steering wheel of the Borealis Rex, a paddle boat that used to ply local waters; old shaving mugs once in used in the community; and replicas of all 10 flags that have flown over Louisiana. Also in the collection is the uniform worn by the late Gen. Claire Chennault of Flying Tigers fame and the wedding gown of his wife, Anna Chennault. The museum also boasts a permanent art collection including works of John James Audubon, Boyd Cruise, Angela Gregory and Lynda Benglis. The museum is open 12 months of the year and offers a minimum of 36 weeks of cultural-visual arts programming. The museum is open 10 a.m.-2 p.m. Tuesdays and Saturdays and 10 a.m.-6 p.m. Wednesday through Friday. Admission is free.
Yahoo
21-05-2025
- Entertainment
- Yahoo
Nicole Kidman Gives Update on ‘Fun and Witchy' Practical Magic 2
Nicole Kidman recently gave a new update, revealing more of what fans can expect from the sequel starring her and Sandra Bullock. Speaking to a crowd as part of Kering's Women in Motion talks at the Majestic Hotel during the ongoing Cannes Film Festival (via THR), Kidman spoke briefly about the upcoming sequel. The comments came while discussing what it's like to work with female directors when Susanne Bier came up. Kidman praised the director as well as getting to work with Sandra Bullock again, noting that the trio know each other so well and are excited to get back together: 'Sandy's worked with her, too, so the two of us were like, well, this is the perfect triangle because we all know each other so well and so to be able to work together on something that is fun and witchy, that's fun and it has something very different to say [than Babygirl].' Currently, information about Practical Magic 2 is mostly unknown, though WB did confirm that Bier would be directing the feature after reports of her involvement were made earlier this year. The film is said to be based on a later installment of Alice Hoffman's Practical Magic book series, but that's all we know for now. The screenplay for Practical Magic 2 is penned by Akiva Goldsman, who co-wrote the first movie. Bullock and Kidman both serve as producers alongside Denise Di Novi. Practical Magic originally released in 1998 and was based on the 1995 novel of the same name by Alice Hoffman. The film followed the tale of the Owens' sisters, who had to channel their magic to try and destroy the evil spirit of Gillian's abusive boyfriend, which had been targeting the pair. While the film didn't launch to critical acclaim, it did develop a massive cult following in the years since its release. 'Sally (Sandra Bullock) and Gillian Owens (Nicole Kidman), born into a magical family, have mostly avoided witchcraft themselves,' a description of the original movie reads. 'But when Gillian's vicious boyfriend, Jimmy Angelov (Goran Visnjic), dies unexpectedly, the Owens sisters give themselves a crash course in hard magic. With policeman Gary Hallet (Aidan Quinn) growing suspicious, the girls struggle to resurrect Angelov — and unwittingly inject his corpse with an evil spirit that threatens to end their family line.' Alongside Bullock and Kidman, the film also starred Dianne Wiest, Stockard Channing, and Aidan Quinn. The film was directed by Griffin Dunne from a screenplay written by Robin Swicord, Akiva Goldsman, and Adam Brooks. The post Nicole Kidman Gives Update on 'Fun and Witchy' Practical Magic 2 appeared first on - Movie Trailers, TV & Streaming News, and More.
Yahoo
20-05-2025
- Entertainment
- Yahoo
Tahar Rahim on Metamorphosing and Shedding 44 Pounds for Julia Ducournau's ‘Alpha': ‘That State of Deprivation Transports You in a Spiritual Dimension' (EXCLUSIVE)
In the space of two years, French actor Tahar Rahim has transformed himself completely to inhabit a pair of drastically different characters, the iconic French-Armenian crooner Charles Aznavour, and Amine, a man engulfed in drug addiction who is dying of a mysterious disease. The latter performance is the force behind Julia Ducournau's allegorical drama 'Alpha' which world premiered at the Cannes Film Festival on Monday evening and earned an 11-minute standing ovation. More from Variety Jodie Foster Embraces 'Vie Privée' Director as French Murder Mystery Gets 8-Minute Cannes Standing Ovation 'Private Life' Review: Fluent in French, Jodie Foster Steers an Upscale, Paris-Set Psychological Thriller Guillermo Galoe Unpacks His Insider's Vision of a Family Riven by Its Shanty Town's Demolition in Critics' Week's 'Sleepless City' Rahim, who saw his career explode 16 years after a breakthrough performance in Jacques Audiard's Cannes prizewinning thriller 'A Prophet,' had transformed himself before, notably in 'The Serpent,' starring as the merciless serial killer Charles Sobhraj. But in 'Alpha,' he went to the extreme, losing 20 kilos (44 pounds) for the part, so that he could relate to his onscreen character, Amine, on an emotional level, as well as physical. 'Julia didn't ask me to go that far, but she needed authenticity,' says Rahim, who stars in the movie alongside Iranian actor Golshifteh Farahani and emerging talent Melissa Boros. 'When I took on the role, I knew that in order to make it real and organic, it had to go through this physical process,' he says with a striking conviction, sitting at the poolside bar of the Majestic Hotel just a couple hours after landing in his first interview discussing the film. It took him three-and-a-half months to shed the weight, a timeframe during which he found the strength to promote 'Monsieur Azanavour,' Mehdi Idir and Grand Corps Malade's biopic. That role of Aznavour, which required him to learn how to sing, speak and move completely differently, ultimately earned him this year's Cesar nomination for best actor. The movie, which like 'Alpha,' was produced by Eric and Nicolas Altmayer, and Jean-Rachid Kallouche, also became one of 2024's biggest local hits with over 2 million tickets sold. While playing Aznavour represented a daunting challenge for Rahim, the experience of making 'Alpha' turned out to be the most spiritual in his career. 'When you get into that kind of state of deprivation,' he says, 'it transports you to a place, a kind of spiritual dimension where you're connected, for me it was with God, because I'm a believer, and with creation.' The movie, which is set in a fictive city, shot in Le Havre, which allowed him to stay in character – something that would have been hard to pull off with his four kids and wife, actor Leila Bekhti, in Paris. 'I had a room facing the ocean and I've never felt the elements so strongly, never felt the wind and the water in front of me so intensely. Everything was much clearer and more striking,' he says. Becoming Amine led him develop a form of addiction and a ritual, which came to him in the unlikely form of pistachios and cherry tomatoes. 'I was on a very strict diet but I was allowed to eat cherry tomatoes and pistachios in certain quantities at a certain time in the evening,' he says, with a laugher. 'When I found myself once or twice without any left, I took my scooter and rode around town at night to get my fix.' Asked if he would ever consider relying on AI or post-production tools to look the part instead of inflicting himself such an ordeal, Rahim is categorical: 'Never in a million years. It'll mess with your head. I'll never rely on things like that.' The actor also volunteered for an association called Gaia that helps marginalized people, including those suffering from additions. The actor says he was mentored by two men who explained to him the sensations induced by drugs, and also allowed him to observe them during their 'rituals.' 'I was able to observe them, to pick up things on the fly, expressions, a way of speaking, a way of moving and everything. All of that built that part of the character,' he says. 'Then you have to fully immerse yourself in the director's world to bring that cinematic touch and emotion that allows you to stray, come back and invent things,' explains Rahim, who served on the Cannes jury in 2021. Just like he was struck by Ducournau's empathy and non-jugement towards Amine's character which emanated from the script of 'Alpha,' he was touched by the work of Gaia. 'It offers these vulnerable people a place where they are listened to, where they exist, because they are clearly ghosts on the streets, they're sick and none of them wanted to end up there,' he says. He also formed a deep bond with Ducournau almost instantly when they started working on the film. 'It had never happened to me before,' he says. 'Something magical happened on day one. First day of shooting, first sequence, first take,' Rahim says. 'I think you only really get to know a director on the first day of shooting.' 'A working relationship like that is very rare, and when it happens, it really gives you wings,' he continues. The script of 'Alpha' compelled him, he said, because 'it's a family story,' but one 'with a certain visual codes of genre films.'They're Julia's codes, which are very recognizable from her other work and that's what makes her such a great filmmaker,' he says. But Rahim says Amine is way more than an addict, he's a 'fallen angel who's had his wings cut off.' And yet, he 'still has a mission,' which for the actor is 'about freeing Alpha,' who is a teenager coming of age in the second half of the film. 'They free each other and also Alpha's mother who's ridden by guilt, fears and grief and gradually learns how to let go — it's got so many layers,' he says. Ducournau and Rahim discovered they were similar in more than one way, including when it comes to the way they tackle work. 'Like her, I'm almost obsessive when I work,' Rahim admits. The other thing they have in common, he says, is 'the way she approaches her her films. 'It's in the same way that I approach my characters; there's really something physical and bodily about it. I need to go through the body to get into the head.' Rahim credits New Hollywood icons of the 1960's and 1970's such as Robert de Niro, Dustin Hoffman, Al Pacino, Gene Hackman and Marlon Brando, as well as British actor Daniel Day Lewis, for inspiring him to become an actor and continuing him to have an impact on him today. That passion for American cinema led him to become one of the rare French actors to have been leading a truly international career from the start, working with foreign directors such Ang Lee, Asghar Farhadi, Damien Chazelle and Kevin Macdonald, among others. His role in 'The Mauritanian' earned him a BAFTA and Golden Globe nominations, among other critical nods in 2021. A year later, he got a second Golden Globe nomination for his part in 'The Serpent.' The actor, who is currently filming 'Prisoner,' directed by 'Bridge of Spies' screenwriter Matt Charman, in Wales, says working often in the U.S. and in the U.K. has taught him to approach work in a different way 'because it's not the same culture, it's not the same budget, it's not the same mythology,' he says. He says he's realized that he's been able to 'get into my characters very quickly.' He credits 'shooting series' for being 'very formative because you don't have time so there are very few takes, you have to move quickly.' Then, his favorite thing on set is what he calls his 'freestyle.' 'Once the director is happy with what he's got, once we've explored everything and it works in every way, then I can let go of everything and we try things,' he says. 'It allows me not only to suggest a new take, but also to return to the essence of my profession, which is fun because it's recreation for grown-ups. I'm a big kid,' he jokes. After 'Prisoner,' Rahim will play Inspector Javert in Fred Cavayé's adaptation of 'Les Miserables,' starring opposite Vincent Lindon who will star as Jean Valjean. The actor says he film will have thriller elements, exploring the confrontation between Javert and Valjean, while being a proper adaptation of 'Les Miserables.' 'There are seeds planted in the novel that are sometimes under-exploited, from which we can grow different flowers that haven't been seen yet, in a way,' he says, adding that he's been talking about the project and his role at length with Cavayé. 'I always need to talk to my directors the way I did with Julia or Fred, because the cool thing about a script is that it's the first form of a film,' he says. 'It's destined to be enhanced on screen, so it's still alive, it's still moving, and we can constantly improve it or give it a different color, a different texture, along the way.' 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