Hindi
Day one of the Jagran Film Festival Commences with a dazzling lineup of movie stars
Mumbai: the eagerly awaited Jagran Film Festival 2023 had a grand inauguration at Cinepolis, Mumbai, commencing an exceptional cinematic journey. Presented by Rajnigandha in partnership with the Government of Uttar Pradesh, the first day promised a remarkable cinematic adventure. The inaugural ceremony was graced by renowned director, screenwriter, and producer Anees Bazmi, joined by Amit Rai, DK, and Raj.
The eleventh edition of the festival glittered with Bollywood luminaries, including Bhumi Pednekar, Rhea Kapoor, Karan Boolani, and casting director Mukesh Chhabra. It also aims to honour Indian cinema legends like Satish Kaushik, Lata Mangeshkar, Vikram Gokhale, and K Viswanath, with a special focus on movies “Kaagaz” and “Lamhe” as a tribute to Satish Kaushik and Lata Mangeshkar.
Day one featured engaging panel discussions with celebrities like Anees Bazmi, Bhumi Pednekar, Rhea Kapoor, Karam Boolani, Amit Rai, Mukhesh Chhabra, DK, and Raj. They shared valuable insights and experiences from their illustrious careers, captivating the audience with their dialogues.
In a candid discussion moderated by Nayandeep Rakshit, accomplished directors Anees Bazmi, Amit Rai, DK, and Raj shared their experiences and early career challenges in crafting stories for OTT and theatrical releases, underscoring the importance of well-crafted scripts and casting choices.
The team of “Thank You for Coming” engaged in an open discussion. Rhea Kapoor acknowledged the potential criticism of her film choices but emphasized the connection with her target audience. Bhumi Padnekar discussed the film’s message of self-acceptance and personal responsibility for happiness. Karan Boolani emphasised the importance of empathising with characters and understanding their perspective, highlighting the hidden forces perpetuating inequality. This discussion was moderated by Nayandeep Rakshit.
Mukesh Chhabra, in an engaging casting discussion, discussed his career journey and his deep love for the film industry, emphasizing his unique path to making a meaningful contribution.
The festival premiered with “Guthlee Ladoo,” including a special screening of “Darran Chhoo,” “Eismayer” for the international opening, and “Jananam: 1947 Pranayam Thudarunnu” for the regional opening.
As the festival partner, Custard Apple Pictures presented the Hindi film “Banwari Ki Amma,” directed by O.P. Srivastava. Set in 1970s Lucknow, it explores the life of an ambitious middle-class family, featuring an elderly maid known for her culinary skills, and their shared existence in a cramped house.
Day two will witness in-conversations with stars like Aanand L. Rai, Piyush Mishra, Vishal Batra (brother of Kargil war hers Param Veer Chakra- Vikram Batra) and Anmol Ahuja
The world’s largest travelling film festival is all set to enrapture audiences with an exceptional array of world-class films from all around the globe.
For Registration log on to: www.jff.co.in.
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.
