Hindi
Reliance Ent to release Krishna Aur Kans in 3D on 3 August
MUMBAI: Following the success of its animated TV series Little Krishna, Reliance Entertainment has made a film on Krishna, the globally revered mythological character.
The film, titled Krishna Aur Kans, is in 3D and scheduled for release on 3 August, a week prior to Janmashtami.
Hailed as India’s first stereoscopic animated film, Krishna Aur Kans is an exciting narrative full of action and drama. It chronicles Krishna’s early years – from his birth as the nemesis of his tyrannical uncle Kans to his combat against lethal demons till the age of 10.
Said Reliance Entertainment CEO Sanjeev Lamba, “Krishna Aur Kans is India’s first animation film to be released in 3D and is sure to bring families together in cinemas this Janmashtami. It is a captivating story based on Lord Krishna’s early life and the victory of good over evil. We are extremely excited about bringing Krishna Aur Kans to cinemas on 3rd August and are hopeful it will add more colours to every family’s festive celebrations.”
The riveting film, directed by Vikram Veturi, brings to life Krishna’s various adventures and miracles in an aim to fulfill his aim on earth – to put an end to evil.
The first look trailer of the film is being shown in cinemas from 11 May.
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.
