Hindi
IIFL Home Finance Ltd. unveils film with actor Pawan Malhotra
Mumbai: IIFL Home Finance Ltd., digital-first home finance company unveils its latest film, capturing the essence of trust and support that the audience can place in the brand. This epitomises the brand’s commitment, presence and unwavering support to turn dreams into reality by fulfilling the dream of home ownership and also the business loan requirements of their audiences.
Schbang, a creative, media, technology transformation company collaborates as the creative partner for the film. Together with IIFL Home Finance Ltd., they are set to launch the film centered on the key theme of “Saath Honge Kaamyaab” in languages across India.
The film revolves around the theme of trust, featuring Bharosa Bhau played by the veteran actor Pawan Malhotra, a trusted figure symbolising reliability in relationships. His recall as the face of reason is exceptionally high, resonating with those seeking trust within their circle.
Bharosa Bhau emerges as the ultimate arbiter of trust, offering reassurance and affirmation. The narrative seamlessly transitions to Bharosa Bhau placing his trust in IIFL Home Finance Ltd., delivering a powerful message about the reliability and credibility of the brand when it comes to fulfilling the dream of home ownership and business loan requirements.
IIFL Home Finance Ltd head, marketing, ESG and CSR Madhvi Gupta expressed her enthusiasm on the launch stating, “We believe in transforming dreams of our customers into reality by supporting them in their journey of home ownership and business needs. Our film ‘Saath Honge Kaamyaab’ captures the essence of trust and support, reinforcing that with IIFL Home Finance Ltd., you are not alone in the journey towards pursuing your dreams and can place your trust in the brand.”
Manish Kinger Schbang executive creative director Manish Kinger said, “Our intent with ‘Saath Honge Kamyaab’ is to solidify the aura of trust around the brand. It was imperative to deliver on this objective with a packaging that is consumer-first. Which is why we chose humor over emotion as our language of communication. The creation of Bharosa Bhau was the first step in that direction – a brand champion that is relatable, witty and memorable. With this quirky film, we are looking to inject comic relief in the otherwise serious category and reinstate friend-like trust on the brand, in the process.
Pawan Malhotra sharing his experience on playing the lead role in the film ‘Saath Honge Kaamyaab’ said, “Portraying the role in ‘Saath Honge Kaamyaab’ has been an enriching experience. The film’s narrative, centered around trust, resonated with me deeply. It beautifully captures the essence of reliability in various life situations. Being associated with IIFL Home Finance Ltd. and this inspiring project has been a privilege, and I believe the audience will connect with the powerful message it delivers.”
The overarching concept underscores the idea that trust is foundational, and the one you trust (Bharosa Bhau) chooses to place his trust in IIFL Home Finance Ltd.
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.
