Hindi
Big releases lift Eros’ FY’12 net up 26% to Rs 1.5 bn
MUMBAI: Eros International Media, the pure play movie production company, has posted a consolidated net profit (after minority interest) of Rs 1.48 billion for the fiscal ended 31 March 2012, up 26.1 per cent as compared to Rs 1.17 billion a year ago.
Total income jumped 34.5 per cent to Rs 9.63 billion.
Eros International Media MD Sunil Lulla said: “I am delighted to announce our results for FY’12, a year in which the company achieved continued growth and margin expansion. The results and growth have been underpinned by box office success of our major film releases as well as contributions from our underlying business model that monetizes content across multiple distribution channels. Our continued investment in content has yielded what we believe is a strong movie slate for FY2013, supported by the box office performance of ‘Housefull 2’ and ‘Vicky Donor’, that we hope to strengthen further.”
The company released a total of 77 films during the fiscal, including 20 Hindi and 50 regional language films. The list includes Ra. One, Zindagi Na Milengi Dobara, Ready, Rockstar and Desi Boyz and Tamil films like Velayudham, Mambattiyan, Engeyum Kadhal, Vedi, 3, Rajapattai, Nanban.
Eros’ Ebit for the fiscal increased by 39.9 per cent to Rs 2.26 billion (FY2011: Rs 1.61 billion).
Meanwhile, for the quarter ended 31 March, the net profit jumped 118.5 per cent to Rs 297.1 million, up from Rs 136 million in the corresponding quarter of the previous fiscal.
Total income in the quarter grew 88.5 per cent to Rs 2.2 billion, from Rs 1.16 billion in the year -ago period.
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.
