Hindi
Pyramid Saimira acquires worldwide release rights of Kuselan in Tamil and Telegu
MUMBAI: Pyramid Saimira Entertainment Limited has acquired worldwide release rights of Rajinikanth starrer film Kuselan in both Tamil and Telegu.
Additionally, the company has also bagged 11 years of intellectual property rights (IPR) of the film, which is slated to release by the end of July.
Kuselan is produced by Seven Arts Films and Kavithalaya in Tamil and Vyjanthi Movies and Seven Arts Films in Telegu.
Pyramid Saimira Group distribution head Mukesh Mehta said, “We are extremely glad to associate with Seven Arts Films and Kavithalaya Group. Seven Arts Films is a reputed production house and Kavithalaya is a digital studios group promoted by K Balachandar.
Also this film is co-produced in Telegu by Vyjanthi Movies.”
While in the Telegu film the co-stars of Rajinikanth include Jagapathy, Babu, Sunil, Meena and Nayantara, in the Tamil film his co-stars are Pasupathy, Meena, Nayantara and Vadivel.
G V Prakash has composed music for both the movies. The film is a remake of the Malayalam movie, Kadha Parayumbhol.
Pyramid Saimira had earlier distributed and exhibited Sivaji in Tamil Nadu, Andhra Pradesh, Karnataka and Malaysia.
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.
