Hindi
Fukrey received well up North, even as YJHD goes strong at the BO
MUMBAI: The Excel Entertainment production Fukrey had its best opening weekend in Delhi and Punjab as there is a genuine connect with the audience up North, where it collected a third (Rs 2.60 crore in Delhi; Rs 70 lakh in Punjab) of its total weekend collections of Rs 9.5 crore across India.
Ankur Arora Murder Case which is based on true events, featuring Kay Kay Menon, Tisca Chopra, Paoli Dam and Arjun Mathur hasn‘t done much to rave the audiences and this reflects in its poor opening weekend collection of about a crore.
Yamla Pagla Deewana 2 is only the third Sunny Sound Production after Indian (2001) and 23rd March 1931: Shaheed (2002). The Deol clan‘s second outing in the YPD franchise has been below average at the end of its first week. The film has managed to collect Rs 27.55 crore for it opening week; the indications for the second weekend do not seem encouraging.
Ayan Mukherjee‘s second directorial venture Yeh Jawaani Hai Deewani starring the Kapoor scion and Deepika Padukone has followed up on its bumper first week with strong second week figures. The film collected Rs 49.3 crore in its second week taking its two week total to Rs 153.3 crore and adding a further Rs 13 core for the third weekend taking its 17 day tally to Rs 166.3 crore. Ranbir Kapoor has certainly established himself as a bankable star with back to back Rs 100 crore plus box office collections with last year‘s Barfi! and YJHDthis year.
Aashiqui 2 starring Aditya Roy Kapoor and Shraddha Kapoor has gone on to add Rs 40 lakh for its seventh week to take its seven week tally to Rs 78.3 crore. This film has certainly exceeded everyone‘s expectations and the music has certainly connected well with the youth.
The debut directorial venture of Atul Sabharwal under the YRF banner and Arjun Kapoor starrer Aurangzeb has collected Rs 20 lakh in its fourth week taking its four week tally to Rs 24.25 crore at the box office.
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.
