Hindi
Endemol India takes Hindi re-make rights of Traffic
MUMBAI: Endemol India‘s motion pictures arm Eyedentity Motion Pictures has acquired the remake rights of Malayalam emotional thriller, Traffic.
The film will have an eclectic ensemble cast with Manoj Bajpai in the leading role. Traffic is slated to go into production in July and is scheduled for release later in the year. Rajesh Pillai, the director of original Traffic, has signed up to direct the Hindi remake as well.
Based on an inspiring true story, the plot of Traffic intertwines multiple stories around one particular incident bringing together five protagonists from diverse backgrounds and a series of events that change their destiny. This emotional thriller with a powerful narrative and a dramatic climax has been adapted in Hindi by Suresh Nair.
Endemol India CEO Deepak Dhar said, "Our acquisition of Traffic heralds the advent of Eyedentity Motion Pictures in mainstream Bollywood cinema. At Endemol, we have always believed that if the content is strong, it will always find its audience and Traffic meets that criteria in every respect. As part of our move into a new phase of significant growth, we look forward to producing some great content for the silver screen."
Eyedentity Motion Pictures will produce 3-4 films every year with an equal mix of scripts for both regional as well as mainstream Bollywood audiences.
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.
