Hollywood
Top 24 films of 2014-15 to be showcased at Montreal World Film Fest
NEW DELHI: Twenty-four features from a score of countries are being shown in the World Greats (out of competition) section of the Montreal World Film Festival commencing tomorrow.
The Festival, which is the only film festival in North America recognised by the Paris-based International Federation of Film Producers Federations (FIAPF), will conclude on 7 September.
Dedicated to experienced filmmakers, this selection offers the latest works by some of the best known directors from around the world.
Notable among the cineastes included are Majid Majidi whose Muhammad will be getting its world premiere and is the opening film. Belgian Rhapsody by Vincent Bal (Belgium – Luxembourg) will be the closing film of the Festival.
The filmmakers who will be showcasing their films are Jean-Jacques Annaud (North-American premiere of Wolf Totem), Cristina Commencini (Latin Lover), Ventura Pons (The Virus of Fear), Ermanno Olmi (Greenery Will Bloom Again), Vincent Bal (Belgian Rhapsody), Ken Kwapis (A Walk in the Woods, with Robert Redford) and Sergio Castellitto (You Can’t Save Yourself Alone) among others.
The American films are: A Walk in the Woods and Silver Skies by Rosemary Rodriguez. The Italian films are An Italian Name by Francesca Archibugi, Greenery Will Bloom Again by Ermanno Olmi, Latin Lover by Cristina Comencini, The Secret Of Italia by Antonello Belluco and You Can’t Save Yourself Alone by Sergio Castellitto.
The South Korean films are: It’s Really Kind Of You by So Jae-ick along with My Sister and The Pig Lady by Jan Moon-il.
The Japanese films are Blood Bead by Banmei Takahashi and The Next Generation – Tokyo War by Mamoru Oshii, Neckan by Gonzalo Tapia and Virus Of Fear by Ventura Pons are both from Spain.
The other films are: Before Spring by Ahmed Atef of Egypt; Chrieg by Simon Jacquemet from Switzerland; Corpse Collector by Dimitar Dimitrov from Bulgaria; Eisenstein In Guanajuato by Peter Greenaway from the Netherlands – Mexico – Finland – Belgium; Gitel by Robert Mullan from United Kingdom – Lithuania; Muhammad by Majid Majidi of Iran; Simon by Éric Martin and Emmanuel Causse from France; Siska Deluxe by Ian Cvitkovic from Slovenia – Czech Republic – Macedonia; Winter by Heidi Greensmith from the United Kingdom; and Wolf Totemby Jean-Jacques Annaud from France – China.
Hollywood
Disney to cut 1,000 jobs in major restructuring drive
Layoffs span ESPN, studios and tech as company pivots to growth
MUMBAI: The magic isn’t disappearing but it is being reorganised. The Walt Disney Company has announced plans to cut around 1,000 jobs as part of a sweeping restructuring effort aimed at sharpening its edge in an increasingly unpredictable entertainment landscape. The move, led by CEO Josh D’Amaro, reflects a broader internal reset as the company rethinks how it operates, allocates resources and competes in a fast-evolving industry. In a memo to employees, D’Amaro acknowledged the difficulty of the decision but framed it as a necessary step to ensure Disney remains “efficient, innovative, and responsive” to rapid shifts in consumer behaviour and technology.
The layoffs will span multiple divisions, including marketing, film and television studios, ESPN, technology teams and corporate functions. Notifications have already begun, signalling that the restructuring is not a distant plan but an active transition underway.
Importantly, the company has clarified that the cuts are not performance-driven. Instead, they form part of a wider transformation strategy aimed at building a leaner, more agile organisation, one better equipped to respond to streaming dynamics, digital disruption and evolving audience expectations.
The timing is telling. The global entertainment industry is in the middle of a structural shift, with traditional television revenues under pressure and box office returns becoming increasingly volatile. Meanwhile, streaming platforms and digital-first competitors continue to redraw the rules of engagement, forcing legacy players to rethink scale, speed and storytelling formats.
For Disney, long synonymous with blockbuster franchises and timeless storytelling, the pivot is both strategic and symbolic. The company is doubling down on technology, direct-to-consumer services and content ecosystems that align with modern viewing habits, where audiences expect immediacy, personalisation and cross-platform experiences.
Even as the restructuring unfolds, D’Amaro struck a note of optimism, reiterating Disney’s commitment to creativity and long-term growth. Support measures for affected employees are expected as part of the transition, though details remain limited.
In essence, this is less about cutting back and more about reshaping forward. As Disney redraws its organisational map, the message is clear, in today’s entertainment world, even the most magical kingdoms must evolve or risk being left behind.
