Hindi
Singh Is Kinng garners Rs 595 million worldwide
MUMBAI: The Akshay Kumar-starrer Singh Is Kinng, which hit theatres on 8 August, has garnered Rs 595 million worldwide. Also, the film has emerged as the biggest Bollywood opener at the box-office overseas.
“While the film has grossed Rs 450 million in India, the overseas collections of Singh Is Kinng stands at Rs 145 million,” said Studio 18 domestic distribution head Aman Gill.
“The film is definitely doing very well. Within three days at Cinemax, the film has grossed approximately Rs 25 million, 35 per cent higher than all past records,” added Cinemax VP marketing, programming Devang Sampat.
The film saw a simultaneous release in Trinidad and Tobago, Switzerland, Germany, Belgium, Netherlands, Luxembourg, Norway, Sweden, Denmark, Mauritius, Fiji, Malaysia, Hong Kong, Singapore, South Africa, East Africa, West Africa, Australia and New Zealand, among other countries.
Distributed on 275 prints in these markets, Singh Is Kinng mopped up approximately Rs 120 million in its opening weekend.
Released with 112 prints in North America, including 28 in Canada, the film popped open to a response ringing up an estimated Rs 50.74 million.
In UK and Ireland, on 70 prints, it grossed Rs 5.04 million on its previews and notched Rs 34.74 million over the weekend, taking its cumulative to Rs 39.8 million and placing it at No.7 in the UK Top 10 chart.
The film was released on 33 prints in the Middle East where it has grossed approximately Rs 23.25 million.
The film has performed far better than any other movies, breaking the record of the other hits of the year, including Jodha Akbar and Jaane Tu Ya Jaane Na.
As reported on Indiantelevision.com earlier, Aamir Khan Productions‘ Jaane Tu Ya Jaane Na grossed Rs 270 million in India and around Rs 50.8 million overseas within a span of ten days of its release while UTV‘s Jodhaa Akbar had garnered Rs 385 million during its opening weekend.
Singh Is Kinng, produced by Vipul Shah‘s Blockbuster Movies, features Akshay Kumar and Katrina Kaif, supported by Neha Dhupia, Om Puri, Kirron Kher, Sonu Sood and Javed Jaffrey. It is an Indian Films-Studio 18 release.
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.
