Hindi
Inox brings Asia Cup 2022 matches live on cinema screens
Mumbai: Inox Leisure is geared up to give Indian cricket fans an exceptional stadium-like experience by broadcasting Asia Cup 2022 matches live on cinema screens.
The 15th edition of the Asia Cup 2022, which will be played in the UAE, will begin on 27 August with the finals scheduled on 11 September. Inox will broadcast all Team India matches live at multiplexes in over 30 cities across India.
Inox’s initiative to screen live matches will be a boon for fans who want to experience stadium energy in a carnival-like setting in a safe and hygienic environment.
The air-conditioned comfort of the cinema hall will enhance their overall cricket viewing experience. While watching the matches, fans will be able to enjoy INOX’s extravagant food combinations and delectable gourmet options served at the multiplexes.
Inox Leisure chief operating officer Anand Vishal said, “This Asia Cup 2022, Inox is all set to welcome the cricket fans to this unparalleled and stadium-like experience across the country. With this unique initiative, our aim is to provide our patrons with the feeling of pulsating energy as if they were in the stadium itself.”
He added, “We are waiting to welcome cricket fans to our cinemas to come and watch the Asia Cup matches together on our giant screens, with fantastic surround sound, which will create an atmosphere like no other. Cricket is a religion in India, and the Asia Cup is one big festival, and we are delighted to bring the cricket action to the big screens at the Inox cinemas.”
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.
