Hindi
Shemaroo launches alternative content division with Osho series
MUMBAI: Shemaroo Entertainment has set up an alternative content division and is kick-starting it with The Osho Talks series.
Shemaroo has signed a multi-year license deal with The Osho International Foundation under its alternate content segment “to bring to today‘s generation Osho discourses” through the home video format of VCDs and DVDs titled Osho Talks on the Shemaroo label.
The Osho Talks VCDs and DVDs are priced at Rs 149 and Rs 299 respectively.
Shemaroo has invested approximately Rs 20 million to tap the lifestyle and alternate market segment.
“Today home video penetration is huge and reaches out to a larger set of audience. Also, with increase in the standard of living along with awareness, the indulgence element is getting diversified. People are not just interested in watching films only. Hence, we decided to launch an alternative content division which will cater to various kinds of audiences ranging from children, philosophy, and literature to fitness and health. We have invested around Rs 20 million in this new division for this year and as we penetrate into this market more, we will pump in more amounts,” said Shemaroo Entertainment joint managing director Atul Maru.
“How to Relax with Yourself and Art of Loving are the first two releases from the Osho Talks series. The forthcoming titles that Shemaroo plans to release shortly include How To be Really Alive, The Transforming Power of Sex and Loving and Accepting Yourself,” stated Shemaroo Entertainment director Hiren Gada.
Shemaroo has assigned a budget of around Rs 200000 to 300000 to market the Osho Talks series. “We have tied up with various retail chains like Croma and Planet M where the Osho VCDs and DVDs will be available. We will also be looking at print and below the line advertising to tap our target audience,” said Maru.
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.
