Hollywood
Annie Silverstein’s ‘Skunk’ wins first prize at the 17th CineFondation selection
NEW DELHI: Skunk directed by Annie Silverstein from the University of Texas at Austin in the United States has bagged the first prize at the 17th CineFondation selection.
With this, Silverstein’s first feature film will be presented at the Festival de Cannes.
The second prize went to Oh Lucy! directed by Atsuko Hirayanagi from the NYU Tisch School of the Arts Asia, Singapore. The third prize was won jointly by Lievito Madre directed by Fulvio Risuleo from Centro Sperimentale di Cinematografia, Italy; and The Bigger Picture directed by Daisy Jacobs of the National Film and Television School, United Kingdom.
The awarded films will receive €15,000 for the first prize, €11,250 for the second and €7,500 for the third.
The CineFondation and Short Films Jury was headed by Abbas Kiarostami and comprised Mahamat-Saleh Haroun, Noémie Lvovsky, Daniela Thomas and Joachim Trier.
The awards were given during a ceremony held in the Bunuel Theatre, followed by the screening of the winning films.
The CineFondation selection consisted of 16 student films, chosen out of 1631 entries coming from 457 film schools around the world.
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.
