Hindi
Cinépolis rolls out the red carpet for SRK fans
MUMBAI: It’s time to fall in love all over again. Cinépolis India is turning up the nostalgia with a cinematic celebration fit for the king of Hindi cinema. Beginning October 31, the multiplex chain is hosting the Shah Rukh Khan Film Festival across 24 cities, inviting fans to relive the actor’s most iconic performances where they belong, on the big screen.
The line-up reads like a love letter to Hindi cinema itself, spanning Kabhi Haan Kabhi Naa, Devdas, Main Hoon Na, Om Shanti Om, Chennai Express, Dil Se, and Jawan. Each screening promises a return to those unforgettable moments of romance, drama and charm that defined generations of moviegoers.
“Few actors have shaped Indian cinema like Shah Rukh Khan,” said Cinépolis India managing director Devang Sampat. “This festival celebrates his legacy by recreating the shared joy of watching his films together in theatres. At Cinépolis, we want every film to feel like an experience.”
Running through the first week of November, the festival will light up Cinépolis theatres from Delhi and Lucknow to Bengaluru, Pune, Hyderabad, Kolkata and beyond. With seven blockbusters, 24 cities and countless memories, this tribute is pure Hindi cinema magic, curtain up, arms outstretched, and hearts wide open.
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.
