Hindi
Viacom18 Motion Pictures’ Rahasya to release on 30 January 2015
MUMBAI: Inspired by the double Noida murder case, Viacom18 Motion Pictures is all set to present a riveting thriller named Rahasya, scheduled to release on 30 January 2015. Produced by Monica Vimal Maluka, the movie is a join presentation by Viacom18 Motion Pictures and UVI Film Productions.
The film’s story is centered on an urban doctor couple living in Mumbai whose only child, an 18 year old teenager called Ayesha Mahajan has been murdered inside their large duplex apartment.
The initial investigations point at the girl’s father as the prime accused for the murder. But as the case is taken over by the Central Bureau of Investigation (C.B.I.), the film questions whether a father could kill his own daughter and if not, then who killed Ayesha Mahajan?
The thriller reveals ulterior motives of near and dear ones in Ayesha’s life who could have committed this heinous crime. Directed by Manish Gupta, the acclaimed writer of Sarkar, the film features Kay Kay Menon, Tisca Chopra, Ashish Vidyarthi, Mita Vashisht and Ashwini Kalsekar in key roles.
Talking about the film, Viacom18 Motion Pictures COO Ajit Andhare said, “VMP is committed to bringing out scripts that make for engaging narratives. We have made unconventional thrillers into major commercial successes with films like Kahaani & Madras Café. We are looking to accomplish the same through Rahasya that brings together a terrific set of actors in an intriguing plot.”
Elaborating further, he said, “I love suspense as a genre and all my prior work has also had some element of intrigue. Rahasya is a nail-biting thriller of an eccentric officer on the hunt for a killer. We believe the movie will have audiences at the edge of their seats.”
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.
