Hindi
PVR Q3 consolidated net remains flat at Rs 88.9 mn
MUMBAI: Film exhibitor and production company PVR consolidated net profit remained flat at Rs 88.9 million for fiscal third quarter ending 31 December compared to Rs 89.2 million in the corresponding fiscal.
The consolidated revenues for the quarter went up by 43 per cent to Rs 2.02 billion as compared to Rs. 1.41 billion during the corresponding period of last year. Consolidated Ebitda for the quarter was up by 34 per cent to Rs 354.3 million as against Rs 263.8 million.
On a standalone basis, PVR‘s exhibition business posted a net profit of Rs 142.2 million including a one time profit of Rs 33.3 million.. Ebitda increased by 43 per cent to Rs. 345.2 million as compared to Rs 241 million in corresponding period of last year.
The exhibition business revenue increased to Rs 1.88 billion from Rs 1.28 billion in the same period last year, up 46 per cent.
PVR MD Ajay Bijli said, “We are extremely pleased that 2012 is shaping up as a great year at the box office. The revenues and profitability in the quarter and nine months has shown a robust growth over the same period last year. The good results is also a function of Company’s long term location strategy to partner in best mall developments in the country, its unique design philosophy, strong customer focus and a unique brand positioning. “
On 8 January, PVR had completed the acquisition of 69.27 per cent stake in Cinemax India from its erstwhile promoters.
In compliance with Sebi Takeover Code, the company has announced an open offer to shareholders of Cinemax India Limited for an additional 26 per cent stake, and the tendering period shall commence on 4 February.
Consequent to the said acquisition, Cinemax India has now become a subsidiary of PVR. On a combined basis, PVR and Cinemax will have a network of 351 screens spread over 85 properties in 36 cities across the country.
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.
