Hindi
Goa to be permanent venue of International Film Festival of India
NEW DELHI: Although Goa has been the venue of the International Film Festival of India since 2004, there has been discussion year after year on whether it should continue to remain so, with a large section of the film industry particularly from eastern and north east India opposing this move.
However, Information and Broadcasting Minister Prakash Javadekar has reiterated that Goa will be formally made the permanent venue for the festival.
The Minister made this statement after the signing of the ritual annual Memorandum of Understanding between the Ministry and the state government at the State Secretariat in Panaji in the presence of Javadekar and Goa Chief Minister Manohar Parrikar. The MoU was signed by Ministry secretary Bimal Julka and Goa Chief Secretary B Vijayan.
The 45th edition of the festival will be held from 20 to 30 November.
“With the signing of the MoU, Goa will now be designing permanent facilities and world-class infrastructure for the festival at Goa, which has matured as a venue for IFFI,” declared Javadekar. This year will be the State’s 11th time hosting the IFFI.
With its peculiar culture and hospitable atmosphere, Goa would soon catch up with renowned international film festivals like Cannes, Javadekar added.
With a few days to go, Javadekar expressed confidence in the facelift planned for the festival, which is being organised by a steering committee comprising representatives of the Directorate of Film Festivals, the State and reputed film industry stakeholders.
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.
