Hollywood
Hong Kong Intl Film Fest to showcase 260 films from 56 countries
MUMBAI: Murmur of the Hearts by Sylvia Chang will be the opening film of the 39th International Film Festival opening on 23 March. The Festival will close on 6 April with Port of Call by Philip Yung. Both the films are to get their world premieres at the Festival.
The festival will screen 264 films from 56 countries, including 78 world or Asian premieres. While Chang’s film is about growing up and letting go in Taiwan, Yung is a compassionate look at the effect of crimes on the families of the criminals.
With Germany as the country of focus, there will be 13 films from that country including Victoria, which won the Silver Bear at the Berlinale for artistic contribution. The German programme is supported by the Goethe Institute in Hong Kong and German Films.
The Festival is supported by the Hong Kong International Film Festival Society (HKIFFS), which is a charitable, non-profit and non-governmental organisation dedicated to the discovery and promotion of creativity in the art and culture of film. Through its year-round programmes, the mission of the Society is to strengthen global appreciation of Asian and Chinese film culture and to promote inspiring films from around the world, enriching the cultural life of Hong Kong.
Committed to the development of a vibrant film culture in Hong Kong and Asia, the Society organises two annual flagship events in March and April: the Hong Kong International Film Festival (HKIFF) and the Hong Kong – Asia Film Financing Forum (HAF).
The Hong Kong International Film & Television Market (FILMART), a concurrent event of the HKIFF, will be held along with the Festival. This will be held from 23 to 26 March.
Committed to discovering new talent, the Festival premieres the breadth of Chinese cinema and showcases Asian talents. As a lifestyle event, festival-goers can enjoy world-class films, attend seminars hosted by leading filmmakers from around the world, visit film exhibitions, join celebration parties, and more.
The Hong Kong – Asia Film Financing Forum (HAF) to be held from 23 to 25 March is widely recognised as the most important film-financing platform in Asia. The HAF brings Asian filmmakers with upcoming projects to Hong Kong to explore co-production opportunities with top financiers, producers, bankers, distributors and buyers. Attracting more than 1,000 filmmakers and guests from at least 35 countries and regions, around 30 projects are selected annually to participate in the three-day event.
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.
