Hindi
Krrish 3 rakes in Rs 77 crore in four days
MUMBAI: The third instalment to the Hrithik Roshan starrer superhero movie Krrish 3, the much awaited solo Diwali release, took a scary start as the film did not enjoy positive reports and the collections did not meet expectations in its opening weekend as it fell during the dull pre-Diwali period and Diwali day. The film was expected to break the shackles on Monday being the Vikram Samvat (New Year) and a national holiday which the film did. The film took a massive jump in collections on Monday by adding a huge Rs 31 crore thus taking its four day total to Rs 77 crore. The film is reported to be steady today – Tuesday being a holiday in many parts – will benefit the film’s collection.
Micky Virus, which marked the debut of Manish Paul on the big screen, remains below par in its first week with figures of Rs 7.4 crore and little more expected to be added in the coming days.
Boss remains a poor fare as the collections drop to about 10 per cent of its first week figure; the film has collected Rs 4.5 crore in its second week. Thus taking its two week total to Rs 51.7 crore.
Shahid collects Rs 50 lakh in its second week thus taking its two week total to Rs 3.6 crore.
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.
