Hindi
PVR INOX to re-release Subhash Ghai’s directorial ‘Karma’
Mumbai: PVR INOX Ltd, India’s premier multiplex chain, is re-relasing the iconic Subhash Ghai’s directorial film ‘Karma’ from 2 to 8 February 2024. The movie will be screening in 43 cinemas in 19 cities across the country. Ticket prices for this cult movie begin at ₹112, and bookings can be made through the PVR INOX app or website and BMS and PayTM platforms. The film, known for its iconic dialogues and mesmerising songs, features a stellar cast of Bollywood icons such as Anil Kapoor, Jackie Shroff, Dilip Kumar, Sridevi, and Naseeruddin Shah, among others.
Expressing his excitement on the re-release of Karma at PVR INOX, director, Subhash Ghai said, “Let me start by expressing my heartfelt appreciation for PVR INOX, as they have decided to re-release an iconic movie like ‘Karma’ from my filmography. I would love to invite our new audiences to connect and watch this movie on the big screens for a larger-than-life cinematic experience, showcasing the beautiful depiction of characters in this action-drama genre, along with the use of the iconic song ‘Aye Watan Tere Liye,’ which touched millions of hearts. It was specially designed for big screens in the 80s when audiences turned their faces away from small video screens. We have received a lot of unconditional love and support in a big way from north to south in bringing back the larger-than-life movie experience. Please do enjoy Karma, a motion picture from my heart as a filmmaker. A heartfelt thank you to PVR INOX once again. See you at the cinemas!”
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.
