Hindi
DFF plans unique tribute to Shakti Samanta
NEW DELHI: An unique three-day tribute to the late filmmaker Shakti Samanta put together by the Directorate of Film Festivals (DFF) will be inaugurated by Information and Broadcasting Minister Ambika Soni on 10 July at Sirifort Auditorium – II.
On the occasion, six popular films of Samanta will be screened. Samanta passed away earlier this year on 9 April.
The three-day event will see the screening of Howrah Bridge(1958), Kati Patang (1971), Amanush(1975), Kashmir ki Kali (1964) and Anurag(1972). Apart from helping a large number of actors, the films also left behind a large repository of memorable music.
Ashim Samanta, the filmmaker’s son will be the keynote speaker at the inauguration and the opening film will be the romantic blockbuster Amar Prem which catapulted stars like Rajesh Khanna, Sharmila Tagore and Sujit Kumar to new heights and left some memorable music for connoisseurs.
Born in Burdwan West Bengal, Samanta received his education at Dehradun, staying with his uncle. He graduated in 1944 from Calcutta University.
Wanting to become an actor in the Hindi film industry, Samanta moved closer to the city. He took a school teacher‘s job in Dapoli about 200 kilometres from Mumbai. He eventually joined the film industry in 1948 as an assistant director to directors like Gyan Mukherjee, Satish Nigam and Phani Majumdar at Bombay Talkies.
Samanta directed his first feature film Bahu in 1954 that starred Karan Dewan, Usha Kiron, Shashikala and Pran,
Samanta‘s other films include Sheroo (1956), Detective (1957) and Hill Station (1957).
He started his own production company by the name of Shakti Films in 1957 and the first release of this banner was the murder-mystery Howrah Bridge that starred Ashok Kumar and Madhubala as the lead.
In all, Samanta directed 43 feature films including 37 in Hindi 6 in Bengal. His best known films include Howrah Bridge, China Town,Kashmir Ki Kali and An Evening in Paris. He is credited for starting the trend of making double version films in Hindi and Bengali with Amanush in 1974 and also made the first co-produced film between India and Bangladesh in 1984.
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
