Hindi
Journey 2: The Mysterious Land releases on 3 Feb
MUMBAI: Warner Bros Pictures is set to release their new film, Journey 2: The Mysterious Island, on 3 February.
The sequel to the first digital 3D film Journey to the Center of the Earth released in 2008, begins when seventeen-year-old Sean Anderson (Josh Hutcherson) receives a coded distress signal from a mysterious island where no island should exist.
Unable to stop him from tracking the signal to its source, Sean’s new stepfather, Hank (The Rock – Dwayne Johnson), joins the quest that will take them first to the South Pacific and then to a place few people have ever seen – or lived to tell about. It’s a place of stunning beauty, strange and threatening life forms, volcanoes, mountains of gold and more than one astonishing secret.
Together with Gabato (Luis Guzmán), the only helicopter pilot willing to risk the trip, and Gabato’s beautiful, strong-willed daughter Kailani (Vanessa Hudgens), they set out to find the island, rescue its lone human inhabitant and escape before seismic shockwaves force the island underwater and bury its treasures forever.
The film also stars Michael Caine as Sean’s grandfather Alexander, the stranded traveler they’re seeking, and Kristin Davis as Sean’s mother, Liz.
Shot in 3D, the film has been directed by Brad Peyton. The Film will be released in English, Hindi, Tamil and Telugu across India. It will also be released in IMAX theatres worldwide.
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.
