Hindi
Ek Main Aur Ekk Tu nets Rs 355 mn in 10 days at BO
MUMBAI: Ek Main Aur Ekk Tu, which collected Rs 313 million in its first week, could not make much of the poor oppositions in its second weekend due to the word of mouth going against it.
The film‘s shows were curtailed or cancelled at many cinemas except in metros. Opening with just about Rs 5 million on the second Friday, it adds little over Rs 40 million to its seven day total taking its 10 day tally to Rs 355 million.
Meanwhile, with its poor content all round, no music to back this love story and a weak lead pair result in Ekk Deewana Tha being rejected outright. Opening to poor response, the film manages a weekend of just short of Rs 30 million.
The other two releases, Married 2 America and ? (Question mark) just added to statistics of number of releases, while Valentine‘s Night went unnoticed.
Gali Gali Chor Hai collected Rs 4 million to take its two week total to Rs 49 million; a disaster.
Agneepath got some benefit of poor oppositions to collected Rs 67 million in its third week; its three week total now being at Rs 1.18 billion.
The Dirty Picture added Rs 7 million in its 11th week taking its total to date to Rs 846.1 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.
