Hollywood
Venezuela-Mexican film gets Golden Lion at Venice International Film Fest
NEW DELHI: The Venezuela-Mexican coproduction From Afar by Lorenzo Vigas has won the Golden Lion for Best Film at the 72nd Venice International Film Festival, which is one of the oldest film festivals in the world.
The Jury chaired by Alfonso Cuarón and comprising Elizabeth Banks, Emmanuel Carr?re, Nuri Bilge Ceylan, Hou Hsiao-hsien, Diane Kruger, Francesco Munzi, Pawel Pawlikowski and Lynne Ramsey viewed all 21 films in competition.
The Festival, which was held from 2 – 12 September, had Alberto Barbera as its director and was organised by the Biennale chaired by Paolo Baratta.
Golden Lion for Lifetime Achievement went to Bertrand Tavernier. The Jaeger-LeCoultre Glory went to Brian De Palma; Persol Tribute Visionary Talent Award to Jonathan Demme and L’oréal Paris per il Cinema Award to Valentina Corti.
The Silver Lion for Best Director went to Pablo Trapero for the film El Clan (Argentina, Spain). The Grand Jury Prize was given to Anomalisa by Charlie Kaufman and Duke Johnson (US).
The Best Actress award went to Valeria Golino in the film Per Amor Vostro by Giuseppe Gaudino (Italy) and best actor to Fabrice Luchini in the film L’Hermine by Christian Vincent (France)
The Marcello Mastroianni Award for Best Young Actor went to Abraham Attah in the film Beasts Of No Nation by Cary Joji Fukunaga (US) and Best Screenplay was won by Christian Vincent for the film L’Hermine by Christian Vincent (France)
The Special Jury Prize was given to Frenzy by Emin Alper (Turkey, France, Qatar), while the Lion Of The Future award went to the debut film The Childhood Of A Leader by Brady Corbet (United Kingdom, Hungary). It also got a prize of $100,000 donated by Filmauro di Aurelio e Luigi De Laurentiis to be divided equally between director and producer.
The Orizzonti Jury of the Festival went to Free In Deed by Jake Mahaffy (US, New Zealand) for best film, for Best Director to Brady Corbet for The Childhood Of A Leader (United Kingdom, Hungary), the Special Orizzonti Jury Prize was given to Neon Bull by Gabriel Mascaro (Brazil, Uruguay, The Netherlands), the Special Orizzonti Award for Best Actor was given to Dominique Lebornein the film Temp?te by Samuel Collardey and the Orizzonti Award for Best Short Film to Belladonna by Dubravka Turic (Croatia).
The Venice Short Film Nomination for the European Film Awards 2015 was given to E.T.E.R.N.I.T. by Giovanni Aloi (France).
The Venice Classic Awards went for best Documentary on Cinema to The 1000 Eyes Of Dr. Maddin by Yves Montmayeur (France); for Best Restored Film to Sal? O Le 120 Giornate Di Sodoma by Pier Paolo Pasolini (1975, Italy, France).
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.
