Movies
Leading Korean filmmaker impressed by Rajini ‘Robot’; keen to co-produce with India
NEW DELHI: Critically-acclaimed Korean filmmaker Kim Jee-Woon, whose action thriller ‘The Age of Shadows’ is the Closing Film for the International Film Festival of India, said it would “surely be great” to incorporate elements of cinema from both countries into each other’s films.
Addressing the media in Panaji, he said he would like to mix the elements of Indian cinema like humour and other real life emotions into Korean films, he added.
Kim said he has been greatly inspired by the stalwarts of Indian cinema like Satyajit Ray and his films like Pather Panchali and Aparajita among others. They have had a major impression on his style of film making. He would like to collaborate with the Indian film industry to make films on history and the Independence struggle in both the countries, he added.
Jee-woon, who led successful films like “I Saw the Devil”, “The Last Stand” and “The Good, the Bad, the Weird”, was highly impressed with the Tamil superstar Rajinikanth’s “Robot” and would love to make a film like that some mix of historical drama.
Lead actor Song Kang-Ho said he is honoured that their film – which is also the South Korean entry in the Oscars – has been selected as the Closing Film at the IFFI 2016 and he is hopeful that the times to come would see more critically acclaimed films from both India and Korea being screened for the people in both the countries.
Set in Seoul and Shanghai, during the Japanese occupation in the late 1920s, the film depicts an intense drama that unfolds between a group of resistance fighters trying to bring in explosives from Shanghai to destroy key Japanese facilities in Seoul, on one side, and Japanese agents trying to stop them, on the other. A talented Korean-born Japanese police officer, who was previously in the independence movement himself, is thrown into a dilemma between the demands of his reality and the instinct to support a greater cause.
Kim said his film is not an attempt to show action and violence on the screen but to depict intense emotions associated with the Korean Independence struggle against the Japanese occupation. He informed that he has tried his best to show these emotions through special sound effects and the ability of his actors to emote them on the screen.
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.
