Hindi
Bhaag Milkha Bhaag inches towards Rs 100 crore club
MUMBAI: This was second week in running that the audience had a choice of sex film in BA Pass. The film about a nymphomaniac married woman seducing a teenage boy collected Rs 3.85 crore for its opening weekend with most of it coming from single screens in B class centres.
Rabba Main Kya Karoon starring Arshad Warsi, Paresh Rawal, Akash Chopra and Riya Sen struggled to sustain through the weekend.
Chor Chor Super Chor starring Beepak Dobriyal, a reasonable entertainer, failed to draw the audience.
Bajatey Raho failed to cash in on its moderate face value and poor oppositions. The film managed to collect 6.5 crore for its first week.
Issaq could not find many takers outside of UP; the film managed a meagre 3.6 crore in its first week.
Nashaa, having opened poor, dropped further during the week to end its first week run with 3.5 crore.
Luv U Soniyo just about managed to cross two crore rupees mark in its first week.
Ramaiya Vastavaiya collected Rs 4.35 crore in its second week to take its two week total to Rs 24.65 crore.
Despite its reasonable price tag, D-Day will prove a loser; the film collected Rs 3.5 crore in its second week to take its two week tally to Rs 18 crore.
Bhaag Milkha Bhaag maintains strong collections in its third week. The film collects Rs 16.1 crore to take its three week tally to Rs 94.25 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.
