Movies
Satyajit Ray’s work to be exhibited in UK
NEW DELHI: The British Film Institute (BFI) is hosting a special two-month festival of selected films of Satyajit Ray in London and will also put up an exhibition of Ray’s design works.
The exhibition, the first to be held in the United Kingdom, will take place at the BFI Southbank from 14 August until mid-October.
Before Ray directed Pather Panchali in 1955, he worked as a graphic designer for an advertising agency in Kolkata. In addition to creating over 30 films throughout his career he also designed many of their sets, costumes, credit sequences and posters.
A selection of the director’s poster designs will be on show in the Atrium at the BFI Southbank. It will include both original and facsimile posters, showcasing the best of Ray’s creations.
The BFI website said: “Ray’s unique graphic style owed as much to Indian art and indigenous folklore as it did to Western traditions. His wide-ranging poster designs encompass surreal photographic collages, ornate portraits as well as bold, typographic experiments, their imagery and lettering borrowing from scenes and motifs in his cinema. Far more than just a beautiful, eye-catching advertisement, each poster offers Ray’s own interpretation of his film as he distilled it into one image.”
The exhibition has been organised by Isabel Stevens, Maggi Hurt and Claire Smith. The posters have been sourced from the BFI National Archive and the Society for the Preservation of Satyajit Ray Archives and Ray Estate, Kolkata.
The films to be screened as part of Ray season in association with the Academy of Motion Picture Arts and Sciences in August are Pather Panchali, Aparajito,Jalsaghar, Apur Sansar, Devi, TeenKanya, Charulata, Kanchenjungha, Nayak,Kapurush, Chiriakhana, Abhijan and Parash Pathar. Mahanagar is also being screened to mark the 50th anniversary of the film.
Two documentaries directed by Ray- commemorating writer, artist and composer Rabindranath Tagore and Satyajit Ray’s father Sukumar Ray will also be screened.
A Masterclass on Pather Panchali by filmmaker and teacher Mamoun Hassan who headed the BFI in 1970s is also a part of the programme.
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.
