Hindi
Jio MAMI: Royal Stag Barrel joins Star to promote short films
NEW DELHI: The Jio MAMI 18th Mumbai Film Festival with Star has managed to involve Royal Stag Barrel Select Large Short Films to provide a platform within the short films category.
Pernod Ricard India assistant vice-president, marketing, Raja Banerji, said “Not only are short films emerging as powerful as long feature films attracting great audience online, but are also attracting great talent from the mainstream film industry. Keeping pace with the changing times, Royal Stag Barrel Select Large Short Films is happy to own the short film category at Mumbai Film Festival.”
Jio MAMI with star festival director Anupama Chopra said “In an article titled ‘Does Cinema need Short Films,’ New Yorker film critic Richard Brody wrote: The short film doesn’t supplant the feature; it nourishes it. It doesn’t make a filmmaker’s career, but it augments it, just as a brief visit to a friend may bring a wise word that may stick with a person for a lifetime. Or, to put it another way, movie theatres are like restaurants, which offer a chance for a good long talk; but there are also cafés for a chat, and the cinema needs those, too. I absolutely agree. Which is why I’m thrilled that Jio MAMI with Star is partnering with Royal Stag Barrel Select Large short films for this category. We hope that something wonderful will emerge.”
Royal Stag Jio MAMI with Star co-created a unique contest for aspiring filmmakers. It will inspire young film-makers across the country to create original short films and provide them the right platform to showcase their work. The winning short film will screen at the festival and the director will get an opportunity to intern with VCF. The contest will be judged by an eminent jury comprising actor Tisca Chopra, renowned film critic Anupama Chopra and festival creative director Smriti Kiran.
Kiran said, “This association opens up the short film piece at the festival and that is very exciting. We are glad to be partners with Royal.”
Themed on the objective of “keep perfecting”, the Royal Stag Barrel Select Large Short Films is a platform for aspiring directors to feature along with mainstream Bollywood directors and chase their creative energy to establish themselves. The platform gives a stage to storytellers to showcase their artistic creativity and reach out to their target audience through the online world as the brand urges them to push for perfection when it comes to filmmaking.
Royal Stag Large Short Films (LSF) is a portal that is the hub of Indian short films. LSF is a parallel platform for indie films that can take co-creation with social media to the next level. Adhiraj Bose is the face of the platform.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
