Hollywood
Only three films from Asia make it to Montreal World Filmfest
NEW DELHI: Three Asian features will compete at the 38th Montreal World Film Festival. They are Zhang Wei’s ‘Factory Boss’, Oh Mipo’s ‘The Light Shines Only There’, and Narushima Izuru’s ‘Cape Nostalgia’.
‘Factory Boss’ is a social realist drama about a factory owner, who goes to desperate lengths to keep his business alive. ‘The Light Shines Only There’ is an indie romance about an unemployed slacker, who falls for his friend’s younger sister. Starring Yoshinaga Sayuri (who is also a co-producer) ‘Cape Nostalgia’ is a light drama about the owner of a small town café.
In the festival being held from 21 August 21 to 1 September, several Japanese titles will also be screened out-of-competition, including IshiiI Yuya’s ‘Our Family’, erotic period drama ‘A Courtesan with Flowered Skin’, and Mishima Yukiko’s ‘A Drop of the Grapevine’.
Other out-of-competition Asian feature film also includes Indian films like Nilendra Deshapriya’s ‘Between Yesterday and Tomorrow’ (Thanha rathi ranga), Bijukumar Damodaran’s ‘Names Unknown‘(Perariyathavar) and Madhureeta Anand’s ‘Kajarya’.
The festival is also holding a tribute to Fortissimo Films’ Michael J Werner, with six Asian titles: ‘The Great Hypnotist’, ‘Black Coal’, ‘Thin Ice’, ‘Tears of the Black Tiger’, ‘Norwegian Wood’, and ‘The Grandmaster’.
Werner is a long-time veteran of the movie sales business, with nearly 30 years experience in international film sales and consulting, specialising in the Asia-Pacific region
Italian actor-director Sergio Castellitto will lead the world competition’s jury, which also includes Chinese singer Jane Zhang.
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.
