Hollywood
28 animation films in competition at Annecy in France
NEW DELHI: Eight feature films and around 20 short films from all over the world are to compete for the 26 awards at the Annecy International Animation Film Festival in France this month.
The Festival is being held in Annecy in France from 15 to 20 June.
Held once every two years, the Festival became an annual feature in 1998. It specialises in animated films – shorts, medium, and feature length.
The feature films are: Adama (France by Simon Rouby), Avril et le Monde truque (France, Canada), Belgium (Franck Ekinci and Christian Desmares), Mune (France – Alexandre Heboyan, Benoit Philippon), Pos eso (Spain – Sam Orti), Sabogal (Colombia – Juan Jose Lozano, Sergio Mejia Forero), Sarusuberi: Miss Hokusai (Japan – Keiichi Hara), The Case of Hana & Alice (Japan – Shunji Iwai) and Tout en haut du monde (Denmark, France – Remi Chaye).
Apart from juries for features and non-features, there will be a jury of FIPRESCI (international Federation of Film Critics) and two separate juries of children between eleven and sixteen years of age for judging features and shorts.
There will also be a market for animation films during the festival, apart from some Master classes by experts in animation. The emphasis will also be on women making animation films, and there will be a large number of films out of competition.
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.
