Hollywood
Sixteen new European films at European Panorama festival in New York
NEW DELHI: Sixteen new feature films are being screened at the ongoing Panorama Europe 2015 in New York, the seventh edition of new European cinema (formerly known as Disappearing Act).
Presented by Museum of the Moving Image and the European Union National Institutes for Culture (EUNIC), the Festival commenced at the Museum and the Bohemian National Hall on 29 May and will conclude on 14 June.
The festival includes films from Austria, Belgium, Croatia, Czech Republic, Estonia, France, Germany, Greece, Hungary, Lithuania, Slovenia, and Spain.
The Closing Night film is Bas Devos’s award-winning VioIet (Belgium, 2014), which is screened as part of this year’s New Directors/New Films series. The screening will be preceded by live music by the Flemish band St. Grandson in the Museum’s courtyard and followed by a reception.
“This year’s Panorama Europe lineup is exceptional,” said Chief Curator David Schwartz, who programmed the festival. “Many of the films are fascinated with questions of identity and history, on both personal and national levels. And this year, many films use humor, often dark, to explore their subjects.”
The festival continues its mission of showcasing the best in European filmmaking by introducing a wide-ranging selection of contemporary cinema in varying genres that cover many current social and cultural themes. Panorama Europe offers New York audiences what may be their only chance to see these acclaimed films on the big screen.
Some of the highlights of this year’s edition include Petr Václav’s 2015 Czech Lion best film The Way Out, Panos H. Koutras’s multiple award-winning Xenia (Greece), Virág Zomborácz’s Afterlife (Hungary), Ignas Jonynas’s The Gambler (Lithuania), with star Oona Mekas attending, and Breathe (Respire) (France), the sophomore feature directed by the actress Mélanie Laurent (Inglorious Basterds, Beginners).
The festival Board, headed by Kristýna Milde and chaired by the Czech Center, is comprised of the Austrian Cultural Forum, the Czech Center, the Delegation of the European Union to the United Nations, the Cultural Services of the French Embassy, Goethe-Institut New York, the Hungarian Cultural Center, the Italian Cultural Institute, the Onassis Foundation (USA) and Consulate General of Greece, and the Polish Cultural Institute New York.
Additionally, festival partners include the Albanian Institute, the Arte Institute, the Consulate General of the Republic of Croatia and Croatian Audiovisual Centre, the Consulate General of Estonia, the Consulate General of Spain, the Embassy of the Republic of Lithuania, the General Representation of the Government of Flanders to the U.S., the Embassy of the Republic of Slovenia and Slovenian Film Centre, and Instituto Cervantes.
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.
