Hollywood
Ten short films for first Iris Prize in Cardiff in October
NEW DELHI: Ten short films will compete at the inaugural Iris Prize British short film festival being held in October.
Organised by Iris Prize and supported by The Michael Bishop Foundation, the winner of the Iris Prize Best British Short will be announced on 12 October during the festival in Cardiff.
The winner will receive a post-production package to help with the making of their next film, comprising sound mixing, sound track lay and dub plus layback. The package is worth ?14,000 and is sponsored by Pinewood Studios Group.
“British films have always been well received at the Iris Prize Film Festival and we are delighted to be screening 10 of the best British LGBT shorts this year. I’m delighted that Pinewood Studios has agreed to sponsor this important prize, they represent everything which makes the British Film Industry the envy of the world,” said Festival chairman Andrew Pierce.
The films will be judged by a five strong independent jury chaired by Judith Noble who is a senior lecturer in Film Production at the Arts University Bournemouth. The full jury is Judith Noble – Senior Lecturer in Film Production at the Arts University Bournemouth; Andrew Leitch – Lead officer on LGBT equalities within Creative Scotland; Lowri Haf Cooke – Arts critic and blogger; Robert Gershinson – Director and photographer, Co-founder of Queer As Film; and Victoria Ashfield – Cross discipline composer.
The 10 film competing for the 2014 Iris Prize Best British Short are:
• Brace – dir: Sophy Holland, Alicya Eyo
• Butterfly – dir: Stuart McLaughlin
• Holly Thursday (The Last Supper) – dir: Antony Hickling
• Middle Man – dir: Charlie Francis
• Playing The Game – dir: Jeremy Timings
• Remission – dir: Christopher Brown
• Siren – dir: Louise Marie Cooke
• Vis a Vis – dir: Dan Connolly
• Wannabe – dir: Marco Calabrese
• We are Fine – dir: Simon Savory
The 2014 Iris Prize Festival will present six main awards:
1. The Iris Prize – Cardiff’s International gay and lesbian short film prize supported by The Michael Bishop Foundation is valued at ?25,000 and remains the only short film prize in the world which allows the winner to make a new film.
2. Iris Prize Best British Short sponsored by Pinewood Studios Group and valued at ?14,000 will be presented for the first time in 2014.
3. Iris Prize Best Feature Award valued at ?1,000 is sponsored by Martin Brigs and presented to the best new feature screened at the festival.
4. Best Actor in a Feature
5. Best Actress in a Feature
6. Iris Prize Youth Jury Award sponsored by Cardiff University and presented to one of the short films as selected by a jury of 10 between the ages of 14 and 17.
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.
