Hindi
Shootout at Wadala packs a punch at the BO
MUMBAI: Shootout At Wadala has had regional appeal doing its best in Mumbai, CP and Nizam circuits which include parts of Maharashtra. It did generally better in single screens. The film has collected about Rs 230 million in its first weekend. The film‘s screening in East Punjab Circuit has been stalled since Sunday due to a protest by a certain section of the society because of some dialogue in the film they find objectionable.
Aashiqui2 has gone on to become a hit all over. The film has gone down well with the youth at multiplexes. Having collected Rs 177.5 million, the film added just about as much for the remaining four days of its week one (which is rare in the present day release strategy) to end its first week with Rs 345.5 million and holding strong through its second weekend to collect another Rs 89 million.
Ek Thi Daayan collected Rs 26 million in its second week and took its two week total to Rs 257 million.
Nautanki Saala collected Rs 14 million in its third week to take its three week total to Rs 219.5 million.
Commando – The One Man Army collected Rs six million in its third week to take its three week total to Rs 214.5 million.
Chashme Baddoor has added Rs 12.5 million for its fourth week taking its four week tally to Rs 422 million.
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.
