Hindi
IFFI to stage 20-minute dialogue between Dadasaheb Phalke and wife
MUMBAI: 2012 marks the centenary year of Indian cinema and what better way to celebrate the same by paying a tribute to the Father of Indian cinema, Dadasaheb Phalke. The 43rd international film festival will stage a 20-minute play with a dialogue between Phalke and his wife Savitri.
Made by Phalke‘s grand niece, the play throws light on what inspired Phalke to make India‘s first full-leagth feature film Raja Harishchandra in 1913. “We have a biography on Dadasaheb Phalke made by his grand niece which we will showcase on November 21. We wanted to celebrate the 100 years of cinema and what better way to do it than this. It is a 20-minute dialogue between Phalke and his wife Savitri which will be adapted into a play,” said IFFI director Shankar Mohan in a statement.
Besides this, the 11-day festival will also screen 26 feature films and 36 documentary and non-feature films to commemorate the centenary year of Indian cinema. “It is a special time this year as we complete 100 years, and so we have a collection of movies which will be screened. IFFI has changed a lot over the past years in terms of content and delivery and we aim to make it better each year,” Mohan added.
The IFFI, that starts from 20 November will open with the screening of Oscar-winning filmmaker Ang Lee‘s Life Of Pi while it will close with Mira Nair‘s The Reluctant Fundamentalist.
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.
