Film Production
K Sera Sera to enter all India distribution
MUMBAI: Production house K Sera Sera has announced its plans to enter film distribution market nationally.
The company already has its own distribution offices in Mumbai, Delhi and the Nizam, which together cover 60 per cent of the film revenue market.
For distributing movies in Delhi and Nizam territories, the company got into a tie-up with Bangalore-based PVR Cinemas.
As the first step towards going national, the company is expanding its reach to Mysore and Central Provinces as well, according to an official communique.
“Today multiplexes attract a growing audience and are proving to be a powerful option for extending the reach of films and sustaining box office performance. The CP and Mysore belt covers over 437 multiplexes. PVR Bangalore, for instance alone has 11 screens. This is one reason why when we decided to expand our distribution network, we chose Mysore and CP as our next stops,” says K Sera Sera Productions CEO Kacon Sethi.
Besides the films under the K Sera Sera banner, the company has distributed films like Black, Dil Maange More, Raincoat and Tango Charlie in its existing distribution network.
With the network now expanding nationally, the company plans to distribute over 20 films in the next one year. It has already signed up two such distribution deals and is negotiating with other filmmakers.
“Despite the growing corporatisation of the Indian film production houses, film distribution still remains caught in the traditional unorganised matrix. We plan to bring modern marketing and risk management techniques in this business. I am confident that for the newer generation of film makers, used to dealing with body corporates will find this a welcome alternative,” Sethi said.
“The company’s move of going national with film distribution will also provide a solid foundation for further growth, new revenue streams and help making K Sera Sera a complete entertainment company,” added Sethi.
Apart from motion picture distribution K Sera Sera’s business operations include motion picture production and television content production. The company has recently announced its intention to raise Rs 600 million from the capital markets.
Film Production
Disney to cut 1,000 jobs under new chief executive
The entertainment giant’s freshly installed boss inherits a restructuring already in motion, with marketing and corporate roles bearing the brunt
CALIFORNIA: Walt Disney is preparing to slash up to 1,000 jobs in the coming weeks, the Wall Street Journal reported, as the entertainment giant’s freshly installed chief executive moves swiftly to trim fat and tighten the ship.
The cuts, less than 1 per cent of Disney’s global workforce of 231,000, will fall hardest on marketing and corporate roles. The planning, notably, began before D’Amaro formally took the top job in March, suggesting the new boss inherited a restructuring already in motion rather than one of his own making.
Driving the push is Asad Ayaz, Disney’s newly appointed chief marketing officer, who in January assumed command of a unified, company-wide marketing operation spanning film, television and streaming. His consolidation drive has been given a suitably cinematic internal name: Project Imagine.
The move is modest by Disney’s recent standards. Between 2023 and 2025, under former chief executive Bob Iger, the company eliminated roughly 8,000 positions across several brutal rounds of cuts, saving $7.5 billion, comfortably exceeding its own targets. As recently as June 2025, several hundred more jobs were axed across Disney Entertainment, hitting film and television marketing, publicity, casting, development and corporate finance.
Disney’s structural headaches are well-documented: shrinking streaming margins, a weakened box office, and fierce competition from Amazon and YouTube gnawing at its flanks. The company is merging its Disney+ and Hulu teams into a single app, has brought in consultants from Bain & Co to guide its broader cost strategy, and is betting heavily on digital growth.
The wider entertainment industry offers little comfort. Sony Pictures, Paramount and Warner Bros. Discovery have all taken the knife to their workforces in recent years, and further cuts loom if Paramount’s acquisition of Warner goes through.
For D’Amaro, the message is clear: there will be no honeymoon period. The magic kingdom still has some cost-cutting spells left to cast.
