Hindi
Gangs of Wasseypur bags four nominations at Asia-Pacific Film Fest
MUMBAI: Anurag Kashyap`s Gangs of Wasseypur has bagged four nominations, including best film and best director, at the 55th Asia-Pacific Film Festival.
It has also been nominated in the best supporting actress category (Huma Qureshi) and best art direction (Suikal Bose).
Two other films – Kahaani and Barfi‘ have also been nominated. While Vidya Balan has been shortlisted in the best actress category for Kahaani, Barfi has been nominated for its music by Pritam Chakraborty.
The other films in contention for the best movie along with Gangs of Wasseypur 1 & 2 are I Wish, Life Without Principle, Lore, Masquerade and Bunohan Apparat.
Thirty films will contend for the final awards in this year`s festival with the theme The New Starting Line.
Nominated for best actor are Lee Byung-hun (Masquerade), Lau Ching Wan (Life Without Principle), Eddie Garcia (Bwakaw), Joseph Chang (GF*BF), Masato Sakai (Key of Life) and Tony Leung Kar Fai (Cold War) while the nominees for best actress besides Vidya are Song Jia (Falling Flowers), Gwei Lun Mei (GF*BF), Im Soo-jung (All about My Wife), Prisia Nasution (The Dancer) and Nora Aunor (Thy Womb).
The list will be assessed by the juries through two rounds of voting.
Winners will be announced on 15 December.
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.
