Hindi
Eighty films in fourth International Women film festival
NEW DELHI: France is the focus country and a total of around 80 feature and short films from over 40 countries are to be screened at the 4th India International Women Film Festival which has commenced in Delhi.
The eight-day festival which concludes on 21 December will relate to women empowerment, where women are being showcased not just as objects of visual pleasure but behind the camera.
The Festival was inaugurated by renowned Kuchipudi dancer and social activist Shalu Jindal in the presence of Sevgi Boz who is the Cultural Attache in the Turkish Embassy, Amit Dev of Time Broadband Services Limited, and Sandeep Marwah of the Asian Academy of Film and Television which is an associate partner of the Festival.
Boz said making a film was difficult enough, but it became more difficult when the maker was a woman. She expressed the hope that the number of women filmmakers all over the world would increase.
Jindal said she had been encouraged by the fact that a woman had taken the initiative for a festival of this kind and sustained it for four years.
Marwah said cinema was the real cultural ambassador of any country, and festivals were the showcase for this. But he said this could only be done by people passionate about their work.
Dev felt that women were more creative behind the camera than many male filmmakers.
The Festival opened with the screening of ‘Istanbul My Love’ by Seckin Yang of Turkey.
Tributes will be paid to seven Indian women filmmakers: Arundhati Devi, Manju Dey, Sai Paranjpye, Aparna Sen, Kalpana Lajmi, Vijaya Mehta and Prema Karanth.
The Festival aims at encouraging women directors and is on the theme “Women Behind the Camera”.
The programme this year includes Competition –World Cinema (Feature), Competition (Documentary), Indian Panorama, Retrospective, Kinder Films, Joint Hands, Focus Institute, Male Voice, and Short Films (Out of Competition).
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.
