Hindi
Netflix rolls the YRF reel worldwide
MUMBAI: Lights, camera, nostalgia! Netflix and Yash Raj Films (YRF) hit play on a golden reel of Hindi cinema memories, bringing five decades of cinematic gems to screens around the world. The streaming giant sealed a landmark partnership with India’s iconic studio, opening its vault of classics, blockbusters and heart-throbs for global audiences to binge on.
The celebration began with a star-studded line-up. Shah Rukh Khan fans were treated to nine of his biggest hits, including Dilwale Dulhania Le Jayenge, Veer-Zaara and Chak De! India, which dropped on November 1, marking the superstar’s birthday weekend. Salman Khan’s action-packed trio Ek Tha Tiger, Sultan and Tiger Zinda Hai will roar onto Netflix on December 27, his birthday.
Romance buffs can look forward to November 14, when timeless Yash Chopra classics like Chandni, Lamhe and Silsila begin streaming. Ranveer Singh’s infectious energy arrives on December 5 with Band Baaja Baaraat and Gunday. The festive season gets even brighter with 34 YRF crowd-pleasers, including Hum Tum, Bunty Aur Babli and Mujhse Dosti Karoge, set to stream two at a time between December 12 and 28.
The reel keeps rolling into 2026, with the Dhoom trilogy revving up from November 28 and the Mardaani series joining on January 22. Valentine’s week will see eight heart-fluttering romances like Saathiya and Bachna Ae Haseeno streaming from February 7.
“For over 50 years, Yash Raj Films has shaped the heart of Indian cinema,” said YRF CEO Akshaye Widhani. “Bringing this legacy to Netflix lets the world experience the colour, the music and the magic of India.”
Netflix India vice president of content Monika Shergill added, “This partnership celebrates Indian cinema in all its glory, allowing fans to relive the magic while new audiences discover its timeless charm.”
Whether you’re chasing Dhoom-style thrills or humming Tujhe Dekha To in your living room, Netflix’s latest drop has turned every night into a Hindi cinema blockbuster.
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.
