Hollywood
‘Atanarjuat’ dethrones ‘Mon once Antoine’ as Canada’s most memorable film
NEW DELHI: Toronto International Film Festival has announced the results Canada’s All-Time Top Ten List, an international poll of industry and academics on the most memorable Canadian films.
This is the fourth edition of TIFF’s All-Time Top Ten List; previous lists were released in 1984, 1993 and 2004.
“In our 40th year we are celebrating our national cinema by revisiting the list of top Canadian films, with help from our esteemed colleagues in the industry and academia. It is encouraging to see new filmmakers and films establishing themselves on the list alongside the classics,” said TIFF director and CEO Piers Handling.
“With more than a decade since our last survey, much has changed in Canadian cinema, and in the results of the survey. Atanarjuat has dethroned the long-standing No. 1 film, Mon once Antoine, and we welcome filmmakers including Guy Maddin, Jean-Claude Lauzon, Sarah Polley and Jean-Marc Vallee to the list for the first time. It’s an exciting group of films indicative of our rich cinematic tradition,” added TIFF senior programmer Steve Gravestock.
Canada’s All-Time Top Ten List of Canadian films:
1. Atanarjuat: The Fast Runner, Zacharias Kunuk (2001)
2. Mon oncle Antoine, Claude Jutra (1971)
3. The Sweet Hereafter, Atom Egoyan (1997)
4. Jesus de Montreal, Denys Arcand (1989)
5. Leolo, Jean-Claude Lauzon (1992)
6. Goin‘ Down the Road, Don Shebib (1970)
7. Dead Ringers, David Cronenberg (1988)
8. C.R.A.Z.Y., Jean-Marc Vallee (2005)
9. My Winnipeg, Guy Maddin (2007)
10. Stories We Tell, Sarah Polley (2012)Les Ordres, Michel Brault (1974)
“The Directors Guild of Canada takes pride in shining the spotlight on our national cinema at every opportunity. The filmmakers featured here have contributed much to our country’s cultural voice and history. It is inspiring to be able to experience them again with a new generation of viewers,” said DGC national president Tim Southam.
The films on the All-Time Top Ten List will be screened free of charge at TIFF Bell Lightbox in July and August. Screening times and more details will be announced 20 May.
The upcoming issue of Montage magazine published by the DGC and includes individual participants’ votes alongside essays on each of the selected films.
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.
