Hindi
Bhaag Milkha Bhaag collects Rs 30.6 crore in opening weekend
MUMBAI: Bhaag Milkha Bhaag, which started slow on Friday, improved over next two days, peaking on Sunday. The film found patronage at multiplexes while the single screens reflected poor performance at most places. The film has managed to collect Rs 30.6 crore in its opening weekend. The film is expected to sustain at a few multiplexes in Mumbai, Delhi and NCR besides Punjab. The distributors of D-Day, due next Friday, skeptical about getting playtime are now sure of good screens.
Sixteen has failed to get audience.
The Ranveer Singh and Sonakshi Sinha love story Lootera which had a fair weekend due to support from Metro multiplexes, dropped drastically after the weekend and ended its first week run with Rs 22.4 crore. With its limited face value and heavy storyline, it failed to sustain. This is Vikramaditya Motwane‘s second directorial venture, following the critically acclaimed Udaan (2010).
Policegiri, which stars Sanjay Dutt, has failed badly; its typical south content, Dutt and crude treatment failed to jell. The film has collected Rs 13.25 crore in its first week. Dutt‘s next release this year would be the Zanjeer remake where he would be reprising the memorable role of Sher Khan previously essayed by the late legend Pran in the 1973 original.
The Emraan Hashmi and Vidya Balan starrer Ghanchakkar has added Rs 1.5 crore in its second week to take its two week total to Rs 28.8 crore. With a poor script and execution, the film has not added much.
Raanjhanaa, which marked the debut of the south superstar Dhanush of Kolavari Di fame, and met with mixed response due to its second half, has sustained well in its third week by collecting Rs 7.25 crore and taking its three week tally to Rs 56.55 crore.
Excel Productions‘ youth flick Fukrey survives its fourth week with figures of Rs 1.5 crore and taking its four week total to Rs 34.2 crore.
Yeh Jawaani Hai Deewani has added Rs 50 lakh for its sixth week to take its six week tally to Rs 182.55 crore. Ayan Mukherjee‘s second directorial venture has certainly gone down well with the audiences across the globe; it has certainly set the benchmark for the highest grosser for this year.
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.
