Hindi
Festival of National Film award-winners of 2013 commences in capital
NEW DELHI: A festival of films that won awards at the 61st National Film awards for 2013 has commenced in the capital with the screening of Marathi feature film Astu by Sumitra Bhave and Sunil Sukhtankar and short film Chidiya Udh by Pranjal Dua.
Organised by the Directorate of Film Festivals at the Sirifort Complex, it will feature all the National Award winning films for the public during the four-day festival.
Thus, it will screen 30 feature films and 23 non-feature films.
The inauguration was attended by filmmakers Sumitra Bhave and Sunil Sukthankar among others.
Entry to the screenings is free and on first come first serve basis.
Some of the other films to be screened at the festival are Ship of Theseus, Miss Lovely, Shahid, Crossing Bridges, Fandry, Liar’s Dice and The Coffin maker.
A total of 41 awards are to be given by the President in the non-feature film category while the number of awards in feature film category is 40.
Hindi films once again dominated the National Film Awards by getting as many as fifteen awards among feature films. Marathi came next with ten awards followed by Bengali with six and Tamil and Kannada with five each and Malayalam with four.
However, the highest number of awards went to the Bengali film ‘Jaatishwar’ which won awards for best female playback for Rupankar and the film ‘e tumi kemon tumi’, best costume for Sabarni Das, best make-up for Vilram Gaikwad (for hero Prosenjit) and Kabir Suman for best musical score.
‘Bhag Milkha Bhag’ by Rakeysh Omprakash Mehra bagged the award for the most popular film providing wholesome entertainment. ‘Fandry’ got the Indira Gandhi Award fir best directorial debut by Nagraj Manjule, the Nargis Dutt award for national integration for Balu Mahendra’s tamil film ‘Thalaimuraigal’ and the social issues award went to the Marathi ‘Tuhya Dharma Koncha’ by Satish Manwar.
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.
