Hindi
Kapoor and Basu come together to begin their production house Picture Shuru Productions
MUMBAI: After the success of the critically acclaimed ‘Barfi‘ which commercially too, raked in nearly Rs 120 crore worldwide, the successful ‘jodi‘ of Anurag Basu and Bollywood‘s youngest heartthrob Ranbir Kapoor have yet again come together. However it‘s not a movie we are referring to here, as the duo is going a step further in strengthening their ties by opening their own production house, ‘Picture Shuru Productions‘.
As reported by Desimartini, Ranbir and Anurag locked onto this name for their banner house from the lyrics of a song in ‘Barfi‘. Apparently they were hooked to the word, since they first heard the recording of the song.
Evidently, the movies to be produced under this new banner would see Ranbir Kapoor in the lead while Basu would be once again be seen behind the camera. Their very first venture too has been set, named ‘Jagga Jasoos‘, where the audience will see Ranbir playing the role of a sleuth, named Jagga. The movie is expected to go on floors by this year end.
Ranbir meanwhile remains busy with a series of movies lined up with Anurag Kashyup. He is currently shooting for Abhinav Kashyap‘s ‘Besharam‘ and will follow it up with ‘Bombay Velvet‘. Kapoor and Kashyup are also trying to finalise the details of the Kishore Kumar‘s biopic, which is one of the dream projects of Basu.
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.
