Hollywood
Jane Campion to head feature jury, Abbas Kiarostami chairs short jury at Cannes Film fest
NEW DELHI: The Cannes film festival that is scheduled between 14 May to 25 May this year will see ‘Titli’ by Kanu Behl as the only Indian film to have made it to the official selection of the Cannes Film Festival.
The two-hour film will be screened in the Un Certain Regard section of the festival in the seaside French resort.
It will feature 19 films in competition opening with Grace De Monaco by Olivier Dahan; 18 films in competition opening with Party Girl by Marie Amachoukeli, Claire Burger, and Samuel Theis; and one film to mark the 70thanniversary celebration of the Le Monde newspaper. In addition, there will two out of competition, three midnight, and five special screenings in the Festival which is considered the top film festival in the world.
The New Zealand director, producer and scriptwriter Jane Campion is to preside over the Jury of the 67th Cannes Film Festival, while the 2014 Cinefondation and Short Films Jury will be presided over by the renowned Abbas Kiarostami from Iran, and Argentinean scriptwriter, producer and director Pablo Trapero, will preside over the Jury for Un Certain Regard.
The short film jury will be presided over by the renowned Abbas Kiarostami from Iran, and Argentinean scriptwriter, producer and director Pablo Trapero, will preside over the Jury for Un Certain Regard.
Some of the films in competition are ‘Winter Sleep’ by Nuri Bilge Ceylan, Adieu Au Langage by Jean Luc-Godard, The Homesman by Tommy Lee Jones, and Jimmy’s Hall by Ken Loach.
The Salt of the Earth by Wim Wenders is in the Un Certain Regard section, while Zhang Yimou’s Coming Home is in the out of competition section.
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.
