Hollywood
Two funding agencies to jointly promote children’s cinema at BIFF
NEW DELHI: The Netherlands Film Fund and the MDM, Mitteldeutsche Medienförderung GmbH, have established a co-development fund to jointly support script development for original children’s film projects.
Children’s films have always played a major role within the policy of both funds. By joining forces the funds aim to develop and coproduce high quality stories for children that will find their audience in both countries and beyond.
MDM director Manfred Schmidt and Netherlands Film Fund CEO Doreen Boonekamp launched the initiative at the Berlinale co-production market at the International Film Festival Berlin. The initiative reinforces the recently signed coproduction treaty between Germany and the Netherlands in order to enhance the collaboration and coproduction between the two countries.
Proposals for original, live action feature films for children in the age groups 4-6, 6-9 and 9-12 years old are eligible. The film projects should be about contemporary matters and are to be told from the perspective of children. There are no limitations regarding style or genre.
Priority will be given to projects that already have a co-producer or co-writer attached from Germany or the Netherlands. Applications should originate from the Netherlands or from the region of Mitteldeutschland (Sachsen, Sachsen-Anhalt and Thueringen).
The initial budget of the fund amounts up to € 100,000, each party contributing € 50,000. Projects will be selected by a selection committee existing of the CEOs of both funds or their representatives. The first application date for the new fund is 14 April 2015.
In the past years several German Dutch children’s films were developed and produced like Supernova (2013, script writer, director Tamar van den Dop, production: Revolver Amsterdam (NL) in co-production with IJswater Films (NL) Coin Film (DE) and Epidemic (BE), Tony Ten (2012, script writer Mieke de Jong, director Mischa Kamp, production Lemming Film (NL), in co-production with Heino Deckert Ma.ja.de. (DE) and Lepel (2004, script writer Mieke de Jong, director Willem van de Sande Bakhuyzen, production Lemming Film (NL), in co-production with: Egoli Tossel Films (DE).
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.
