Hollywood
Hong Kong dominates Asian Film Market in Busan
NEW DELHI: This week’s films from Hong Kong at the Asian Film Market in Busan in Korea represent a variety that moves from erotica to horror to romantic comedy and 3-D blockbusters.
Distribution Workshop unveils In the Room by Singapore’s Eric Khoo. Produced by Nansun Shi and starring Josie Ho, the high concept erotic drama takes place in a single hotel room with six connected stories over several decades. Also on the company’s lineup are Tsui Hark’s spy thriller The Taking of Tiger Mountain 3D and Derek Yee’s martial arts film Sword Maste, both in post-production for 3D delivery.
Golden Network Asia pesents Live TV by new Korean directors Kim Seon-ung and Son Gwang-su. The thriller follows two guys and one girl who live-broadcast a threesome sex scene online in a seedy motel only to find themselves become the next victims of a serial killer. It is slated for its world premiere at the Busan International Film Festival.
Busan’s closing film Gangster Pay Day is Star Alliance Movies’ (HK) first co-production with Sundream Motion Pictures. Starring Anthony Wong and Charlene Choi, the action comedy is about a retired gang boss who leads a humble life but is forced to fight back to protect the woman he loves and avenge the death of a comrade. Lee Po-cheung’s film is due to open on 6 November in Hong Kong.
Star Alliance is also selling Soi Cheang’s SPLII in the Asia-Pacific region only. The follow up to the 2005’s smash hit is top-lined by Thai action star Tony Jaa, Louis Koo and Wu Jing. A 2015 summer release is expected.
Universe Films Distribution touts James Yuen’s romantic comedy Paris Holiday, featuring Louis Koo and Amber Kuo as two broken hearts who fall in love in the most romantic city and the Benny Chan-produced Little Big Master with Miriam Yeung as a headmaster who runs a kindergarten for under-privileged children.
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.
