Hindi
Delhi-6 to release in 1200 screens across India
MUMBAI: UTV Motion Pictures will release its upcoming flick Delhi-6 in 1200 screens on 20 February across India. The company is also planning to release the film in more then 220 screens in the overseas market.
In the Middle East, the Rakeysh Omprakash Mehra (Rang De Basanti fame) directed film will release a day ahead. The cast including Abhishek Bachchan, Sonam Kapoor and Mehra, will attend special screenings in Dubai on 18 February and in New Delhi on 19 February.
UTV has partnered with the Dubai International Film Festival (DIFF), where the first glimpses of the film were shown in December at DIFF‘s fifth edition.
Says DIFF artistic director Masoud Amralla al Ali, “Delhi 6, with its themes of community, belonging and love, falls perfectly in line with DIFF‘s credo, ‘Building Bridges, Meeting Minds.’ We are honoured to provide a platform for UTV and Mehra to share their newest collaboration with Dubai audiences.”
The film follows American-born Roshan (Bachchan), who brings his ailing grandmother back to India. The backdrop of the story is the ancient walled city of Delhi, which represents the chaos, religion, beliefs and ethos of the Indian people.
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.
