Hindi
Acclaimed Bengali filmmaker Rituparno Ghosh passes away at 49
NEW DELHI: Noted filmmaker Rituparno Ghosh, who was expected to take on the mantle oficons like Satyajit Ray and Ritwik Ghatak in West Bengal, died early this morning of cardiac arrest at his south Kolkata residence.
Winner of 12 national and some international awards, the 49-year-old Ghosh was suffering from pancreatitis and died of heart attack at 7.30 am, his family said.
Ghosh had gained international fame for films like Dahan (1997),‘Asukh(1999), Chokher Bali (2003), Raincoat (2004), Bariwali (1999),Antarmahal (2005), Noukadubi (2010), and The Last Lear ((2007), all of which won him several awards.
Born on 31 August 1963 in Kolkata, Ghosh was fortunate that both his parents were related to films, his father being a documentary film maker. He completed his schooling from South Point High School, and pursued economics from Jadavpur University, Kolkata.
Rituparno started his career in advertising. He had first gained fame for his direction of a children‘s film ‘Hirer Angti‘ in 1994 and his film ‘Unishe April‘ won him a national award in 1995.
He won the National film award for Best Director for his Bengali film Abohoman starring Jishu Sengupta, Ananya Chatterjee, Dipankar Dey and Mamata Shankar. He made his first screen presence in an Oriya film Katha Deithilli Ma Ku which is directed by Himanshu Parija and released in 2003.
He hosted two celebrity chat shows, namely Ebong Rituporno on ETV Bangla and Ghosh and co. on Star Jalsha. He also was the scriptwriter of Gaaner Opare.
His film Just another Love Story in 2009 received rave reviews all over the world. He later made Kashmakash in 2011. His last films were Chitrangada in Bengali in which he also acted, and Sunglass in Hindi, both in 2012. In both Just another Love Story and Memories in March, he reprised the role of a homosexual.
In fact, he never hid the complexities about his sexuality and said he wanted to live his life on his terms.
Talking to indiantelevision.com over telephone, thespian Soumitra Chatterjee said he was too shocked to say anything. He said the nation had lost a very promising film director at a very early age.
Eminent filmmaker Buddhadeb Das Gupta, speaking over the phone in Mumbai, said he had known Ghosh as a young man coming to his house with his father, and had also helped him when he turned filmmaker. He was therefore very saddened by the death. As a tribute, Das Gupta said Ghosh always lived life the way he wanted, without caring about what society would say.
West Bengal State Commerce and Industry minister Partha Chatterjee visited his home in the morning.
I&B minister Manish Tewari has condoled the untimely death of Ghosh.
In his condolence message, Tewari said, "I am deeply shocked by the tragic and premature death of Ghosh. He was a creative genius who gave a new dimension to film making with every film that he was associated with. His films always left a deep imprint on minds of the audiences who were captivated by the honest portrayal of human emotions. Cinema has lost a visionary, as Ghosh was always innovative and bold in undertaking new themes for his films. His death has left a void which will be very difficult to fill.”
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.
