Hindi
Ekta Kapoor, Sunny Leone promote Ragini MMS 2 in the capital
MUMBAI: Coming with a new version of horror with sex, or ‘Horrex’ as they call it, the cast of film Ragini MMS 2 attended the press conference at PVR Plaza, Connaught Place, New Delhi. Even producer Ekta Kapoor was in tow.
The film starts off from where its prequel Ragini MMS ended which revolved around a young couple Ragini and Uday who went to an isolated house for a dirty weekend and the creepy and paranormal happenings that took place to them there. Uday had planned to make an MMS scandal of Ragini in that house. But the MMS shot goes viral, Uday goes missing and Ragini after that incident became lunatic and ended up in a mental hospital. The Ragini MMS scandal catches the attention of a filmmaker who plans to make a film on it.
Leone, who is already making headlines for her performance in the song “Baby Doll’ and ‘Chaar Bottle Vodka’, talking about her experience of shooting the film said, “Sometimes its very scary to be alone at home after shooting.”
She also said that it was a great experience working with the singing sensation of the time- Honey Singh.
When Ekta was quizzed about the reason behind casting Leone, she said, “Sunny looks beautiful on camera and she suited the best for Horrex theme.”
Ragini MMS 2 is produced by Ekta Kapoor and directed by Bhushan Patel. Distribution rights are being controlled by Balaji Motion Pictures. Music of the film which is receiving great response from the audience is given by various artist like Honey Singh and Meet Brothers.
It is releasing on 21 March 2014.
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.
