Hindi
Agent Vinod fails to thrill weekend audiences, nets Rs 273 mn
MUMBAI: Agent Vinod, the Saif Ali khan thriller, has finished its opening weekend score at Rs 273 million. The film failed to improve its box office performance during the Saturday-Sunday weekend due to lack of good word of mouth, as it found audiences mostly from the multiplexes and failed to influence the single-screen theatres.
The new releases, Zindagi Tere Naam, Chaurahe, Akkad Bakkad Bam Be Bo, Say Yes To Love and Love Possible, received tepid response at the box office and in their first week appearance managed to collect just a few lakh of rupees.
Kahaani continued to grip the box office, winning appreciation for its suspense, narration, acting and filmmaking skills. The Sujoy Ghosh movie, with Vidya Balan as the main protagonist, mopped up Rs 189 million in its second week to take its total to Rs 436 million.
Chaar Din Ki Chandni added Rs 10 million, taking its two-week tally to Rs 62 million.
Paan Singh Tomar collected Rs 31 million in its second week. The film has so far netted Rs 150.5 million.
Tere Naal Love Ho Gaya collected Rs 9 million in fourth week. Its total now stands at Rs 182 million.
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.
