Hollywood
Over 115 projects backed by Germany-based World Cinema Fund in 10 years
NEW DELHI: The World Cinema Fund (WCF) based in Germany, which is marking its 10th year this year, has backed a total of 119 projects from 41 countries: granted production funds 84 times and given distribution funds to 35 films for release in German cinemas.
In 2015, the WCF will expand its funding programme to include a special project: WCF Europe.
“The World Cinema Fund is a success story: over the years it has grown and extended its reach. And for the time being, the Federal Cultural Foundation has secured its financing of the World Cinema Fund until 2018. The terms are good and will allow us to continue our work successfully,” said German Federal Cultural Foundation artistic director Hortensia Volckers.
Alongside its funding activities, the WCF annually organises a “WCF Day” during the Berlinale. In panel discussions, film cultures and infrastructures in individual countries or regions are debated. Moreover, since 2007, in collaboration with the Goethe-Institut, there have been “Spotlights” with WCF-funded films and workshops in the funding regions.
In 2015 and 2016, WCF Europe will supplement the existing programme of the World Cinema Fund and back further co-productions between European producers, and directors and producers from WCF regions and countries. Applications may be submitted by European producers from MEDIA sub-programme countries and production firms in WCF Europe regions, as well as in the Ukraine, Belarus and Moldavia, that can document they have already collaborated with a European partner.
Distribution funds will be granted to films that are being released jointly by three distributors: at least one must be from Europe and one from a WCF region or country. Funding for the coming two years will total 300,000 euros.
“The WCF’s success is proof of its topicality, and commitment to world cinema and cultural diversity. We thank Hortensia Völckers and the Federal Cultural Foundation for backing us all these years. I would also like to welcome the German Federal Foreign Office on board as another important partner. Funds from the Foreign Office allow us to pursue the goal of contributing internationally to partner-based cooperation’s and co-productions. Many thanks to the Foreign Office for this,” commented Berlinale director Berlinale Dieter Kosslick.
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.
