Hindi
Celluloid Chapter, Tata Steel to organise 13th International Film fest
MUMBAI: Celluloid Chapter, the film society of Jamshedpur, in association with Tata Steel is organizing the 13th Jamshedpur International Film Festival. It will start on 14 March and end on 26 March this year.
The festival has been divided into four sessions which are the Indian Panaroma, Showcasing Foreign Films, seminars and workshops.
Indian Panaroma will be screening six Indian films in three days starting 14 March. Said Celluloid Chapter secretary Debashish Chakroborty said, “Some of the films in this category are Mira Nair‘s Namesake, Anurag Kashyap‘s Black Friday, Gautam Ghosh‘s Yatra , Sandip Ray‘s Kailashe Kelenkari and Aamir Khan‘s Taare Zameen Par.”
The foreign film category will be screening films from all over the world from 15 to 26 of this month. Countries like France, Norway, Germany, Israel, Turkey, The Netherlands, Italy, Poland, Czech, Columbia, Bangladesh, Pakistan and Cuba will be participating under this category.
“While Sunetra Ghatak will be conducting a seminar on Film Society‘s Movement in India on 16 March in the morning, the seminar called Meet the Directors will be addressed by Sandeep Ray, son of Satyajit Ray, in the evening,” added Chakroborty.
The festival has received films from 11 embassies across the country. While the festival will open with Mira Nair‘s Namesake, Hungarian film Professor Albetti and Iranian Film Baran will be screened on the last day of the festival.
“A special set of Bangladeshi films will be inaugurated at the event and Bangladeshi film actor Tariq Masood will do the honours,” he said.
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.
