Hindi
Ek Main Aur Ekk Tu nets Rs 195 mn in opening weekend
MUMBAI: With poor content and having failed to generate any excitement, Ek Main Aur Ekk Tu opened to a timid response.
The collections improved marginally on Saturday and reached a peak to decent collections on Sunday to end the opening weekend with Rs 195 million. The Sunday collections were better at metro multiplexes; drop as the new week opens is noticeable.
Gali Gali Chor Hai, a dull satire on corrupt system, finds total rejection, barely managing to complete its seven-day run at most centres. It ended the week with Rs 45 million.
Love You To Death added some more loss to its making budget of Rs 25 million in the form of release cost.
Agneepath reaped the benefit of inconsequential opposition and went on to collect a reasonable Rs 233 million in its second week to take its total to Rs 1.11 billion.
Of the previous releases, Chaalis Chaurasi and Ghost (fourth week), Players (fifth) and Don2 (seventh), the collection was between few thousands to couple of lakhs of rupees, thus hardly impacting their standings.
The Dirty Picture is the only film to add over half a million with collections of Rs 600,000 to take its total to Rs 839.1 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.
