Hindi
Katrina ready to sizzle with multiple projects
MUMBAI: She has created waves on-screen every time with her performance. Katrina Kaif, who has been voted the hottest actress four years in a row, is set to rule again with her upcoming release Dhoom 3.
Her last release Jab Tak Hai Jaan was one of the biggest successes of the year. Now, the actress is set to sizzle in Dhoom 3. The title song Dhoom Machale, the teaser of which was released recently, is already trending.
She has temperatures soaring with the song that is glamorously picturised on the actress. Sporting edgy couture be it the neon pink romper, skimming corsets and bustiers and knee high boots, Katrina is looking her best.
That’s not all, the actress also has a string of back to back releases in the coming year, including the action-romance Bang Bang with Hrithik Roshan, Kabir Khan’s gritty drama Phantom with Saif Ali Khan and Fitoor, a timeless love story.
A trade source says, “Katrina Kaif is making conscious decisions when it comes to her films stressing on quality and not quantity. She has created a unique space for her in the industry. Her releases next year too are amongst the most awaited. Her growth has been unprecedented and she has constantly proved with every film that she is here to stay.”
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.
