Hindi
Boss collects only Rs 38.2 crore
MUMBAI: The mid week release to cash in on a festival has backfired on Boss (second film to suffer so in recent times after Besharam). Released on Eid day (Wednesday), it opened to lukewarm response earlier to consolidate by evening shows at single screens. However, the first day figures barely managed to touch Rs 12 crore. The Basi Eid was expected to help maintain steady collections but that did not happen as the collections dropped by nearly Rs 5 crore. The film went on to collect Rs 25 crore for the first three days and close its five day weekend at Rs 38.2 crore.
Shahid found the appreciation but has not yet backed it up with the collections. This Mumbai-centric film faced opposition from the 15th Mumbai Film Festival as film buffs who would love such a film were drawn to the film fest. The film collected about Rs 2 crore in its first weekend.
War Chhod Na Yaar has managed to see the week through. The film has collected Rs 6.25 crore for its first week.
Besharam drops to less than 10 per cent of its first week figures. The film has collected Rs 4.35 crore in its second week (16 days) to take its two week total to Rs 54.65 crore.
The Lunch Box has collected Rs 85 lakh in its fourth week taking its four week tally to Rs 20.25 crore. It was revealed during the 15th Mumbai Film Festival that the Irrfan Khan starrer will also be releasing in France on 11 December this year.
Phata Poster Nikhla Hero has added Rs 55 lakh in its fourth week taking its four week total to Rs 35.95 crore.
Grand Masti has collected Rs 60 lakh in its fifth week, just about ending its eventful run at the box office and taking its total to Rs 91.8 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.
