Movies
PVR INOX unveils Bengaluru’s largest cinema
Mumbai: PVR INOX, the largest and the most premium cinema exhibitor in India, has announced the launch of Bengaluru’s largest cinema at Phoenix Mall of Asia and its largest cinema in the South. The 14-screen Megaplex located in the largest and one of the most premium malls in Bengaluru features three premium formats – MX4D, ScreenX, and Insignia. PVR INOX also introduces the first MX4D, the immersive 4D movie experience and ScreenX, 270-degree cinema viewing in South India.
The new cinema will augment PVR INOX foothold in Bengaluru with 172 screens in 26 cinemas and in the state of Karnataka with 219 screens in 37 cinemas. The company consolidate its presence in South India to a total of 572 screens in 100 properties.
Located in the suburbs of Bangalore, the 14-screen Megaplex is the city’s most advanced cinema that includes the multi-sensory MX4D format, premium large screen format ScreenX, three auditoriums of PVR INOX’s luxury format, Insignia along with 9 premiere auditoriums with last row celebrity plush recliners. With a seating capacity of 1997 audiences, the new cinema is equipped with the best-in-class theatrical technology to offer an immersive and enhanced cinematic experience. This includes the 4K laser projection, advanced Dolby Atmos surround sound and Volfoni 3D screen.
Commenting on the announcement, PVR INOX Ltd MD Ajay Bijli said, “The Southern region is a critical market for us with a steady supply of regional content and passionate consumer demand. We have received an overwhelming response for all our premium screen formats nationwide, prompting us to unveil our largest cinema in South with 14 screens including 3 superlative cinema formats – MX4D, Screen X and Insignia. It has been PVR INOX’s strategy to make cinemas more experiential and this Megaplex at Phoenix Mall of Asia perfectly aligns with our vision.’’
The design harmoniously blends various shades of white, accented by a regal touch of Royal blue, imparting a luxurious ambiance. Strategic areas such as entrances and F&B spaces are elegantly emphasized using black accents amidst the whites, ensuring a delicate balance. Impressive video walls, signage, and ceiling features reflect the grandeur reminiscent of a Megaplex. By transitioning from whites to greys, the Insignia achieves a refined and opulent atmosphere. This timeless design promises a perpetually fresh appeal, welcoming customers to a comfortable and inviting environment.
Commenting on the announcement, PVR INOX Ltd executive director Sanjeev Kumar Bijli said, “We are delighted to launch our biggest property in South India, introducing the MX4D and Screen X formats to the region. Bengaluru is a fast-changing and dynamic city in Southern region and one of India’s fast-growing economies. Leveraging on the immense potential of the city aided by proactive governance, it offers one of the most promising destinations for expansion of multiplexes. We are excited to expand our presence in Karnataka with a world-class cinema.”
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.
