Hindi
UTV set to release Delhi Belly in Hong Kong on 10 May
MUMBAI: UTV Motion Pictures is set to release Aamir Khan‘s Delhi Belly on 10 May in Hong Kong.
A rip-roaring film, Delhi Belly will release across eight screens in cinemas for the first week with Cantonese subtitles.
After consecutive success of Hindi films in Hong Kong, there has been immense demand of content that has the ability to crossover and work with local audiences across culture and sensibilities.
The film is about Tashi, Arun and Nitin – flatmates, buddies and partners in crime. Tashi is to get married in a month but still doesn‘t know if his fiancé is the one. Arun can‘t make up his mind who he wants to kill first – his girlfriend who has just dumped him or his stupid, annoying boss whose idea of creativity is sketching a smiling banana.
On the other hand, Nitin is about to discover that eating delicious tandoori chicken off a street vendor is going to give him the worst case of Delhi Belly he‘s ever known! Three regular blokes, living the regular life except for one small detail – they are on the hit list of one of the world‘s deadliest crime syndicates. Will they be able to get away before the shit hits the roof and it comes crashing down? Delhi Belly is the meanest comedy you‘re ever likely to see.
Said UTV Motion Pictures Senior Vice President, International Distribution and Syndication Amrita Pandey, “It‘s a very proud moment for us to have our film Delhi Belly release in Hong Kong. Hong Kong has a large young local and expat population and Delhi Belly has done superb business in cities like London, Singapore, Dubai, New York, Sydney, Melbourne, we hope it resonates with audience in Hong Kong. After the phenomenal success of 3 Idiots in Hong Kong, there is huge fan following for Aamir, and correspondingly for Delhi Belly since it is produced by him.”
Directed by Abhinay Deo and written by Akshat Verma, Delhi Belly stars Imran Khan, Kunal Roy Kapur and Vir Das.
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.
