Hindi
From Aamir Khan to Junaid Khan – New Excelsior Mukta A2 cinemas connects two generations
UMBAI: Mumbai’s legendary New Excelsior Mukta A2 Cinemas set the stage for the highly anticipated trailer launch of Loveyapa, a film that is already making waves with its captivating title song and intriguing trailer.
The grand theatre, celebrated for its historic legacy and grandeur, provided the perfect backdrop for an evening filled with nostalgia and excitement.
Known for its massive screen and impressive seating capacity of 596, New Excelsior Mukta A2 Cinemas holds a special place in Indian cinemas history, having hosted the premiere of Aamir Khan’s debut film Qayamat Se Qayamat Tak in 1988. This symbolic connection added a layer of significance to the event as Loveyapa marks the theatrical debut of Aamir Khan’s son, Junaid Khan.
The trailer was unveiled in front of an enthusiastic audience of over 300 special guests, including members of the media, influencers, and students. Attendees were treated to a first look at the chemistry between Junaid Khan and Khushi Kapoor, who star in the film. The relatable themes of trust, relationships, and the challenges of modern love resonated deeply with the young crowd.
Loveyapa tells the story of Gucchi and Bani, a young couple whose relationship is tested when Bani’s father challenges them to swap phones to prove their trust. As secrets are uncovered, the couple’s faith in each other faces its ultimate trial.
Adding to the fun and engaging atmosphere of the evening, a unique collaboration with Burger King saw all attendees served a special Loveyapa combo, enhancing the event’s casual and relatable vibe.
Phantom Studios CEO Srishti Behl shared her thoughts on the choice of venue: “When planning the trailer launch, we sought a location that was both historic and iconic—something that bridged the past and the future. New Excelsior, with its incredible legacy and its connection to Aamir Khan’s debut, felt like the perfect setting to introduce Loveyapa.”
Mukta A2 Cinemas CEO Satwik Lele added: “From hosting the premiere of Qayamat Se Qayamat Tak to unveiling the trailer of Loveyapa, it feels like a full-circle moment. We can’t wait to showcase this film on our big screens.
”
Produced by Phantom Studios and AGS Entertainment, Loveyapa is set to hit theatres on 7 February 2025.
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.
