Hindi
Agneepath collects Rs 160 mn from overseas
MUMBAI: Agneepath, a remake of the 1990 film of the same title from Dharma Productions, has opened to record box collections in the overseas market, its distributor Eros International has announced.
In its opening weekend, the film has shown collections of Rs 160 million in the international market. Eros released Agneepath internationally on 337 screens, the highest ever for any Hrithik Roshan film.
Agneepath grossed ?347,000 in UK in its first weekend (4 days), which is the highest opening weekend collections for any ‘15‘ rated Indian film. Agneepath is also ranked No 10 on UK Top 10 Box Office.
In the United States, the four-day first weekend collections are $1.3 million, reflecting a healthy average of $10,000 plus per theatre. In UAE too, Agneepath has grossed over $ 800,000 in four days, indicating the enormous support consumers have shown for this film. Other strong performing territories are Australia, Pakistan, Singapore, South Africa, Mauritius and Kenya.
Eros International plc president – marketing & distribution Pranab Kapadia said, “Agneepath has done extremely well in all the overseas markets making it the first blockbuster of the New Year. The tremendous response has been very encouraging with all major markets indicating remarkable box office results”.
Producer Karan Johar added, “All of us at Dharma are ecstatic at the historic opening day collections. It truly is the director Karan Malhotra’s vision that has made it all possible. Revisiting a cult classic is a daunting task and he along with his brilliant cast and crew have helped create box office magic!”
Produced by Dharma Productions, Agneepath has been directed by Karan Malhotra and released across cinemas worldwide on 26h January.
In India, the movie had mopped up approximately Rs 620 million till the end of the weekend with an all-time high opening day collection of Rs 230 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.
