Movies
FTII short film fails to get the Cinéfondation award at Cannes Fest
NEW DELHI: The only Indian film that had officially made it to Cannes – the short film from the Film and Television Institute of India – has failed to get any awards although it was among the sixteen films shortlisted by the Cinéfondation Selection of the Cannes International film festival to mark the twentieth year of this section.
The film was ‘Afternoon Clouds’ by Payal Kapadia with duration of 13 minutes.
The 16 films included 14 works of fiction and 2 animations from among the 2,600 works submitted this year by film schools from all over the world. Fourteen countries from three continents are represented. Four of the films selected come from schools taking part for the first time.
The three Cinéfondation prizes that were awarded – in that order – are:
The Cinéfondation allocates a €15,000 grant for the First Prize, €11,250 for the Second and €7,500 for the Third.
The winner of the First Prize is also guaranteed the presentation of his/her first feature film at the Festival de Cannes.
The awarded films will be screened at the Cinéma du Panthéon on 30 May.
However, all the films of the Cinéfondation selection will be screened at the Cinémathèque française on 31 May and 1 June 2017.
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.
