Movies
Madhya Pradesh, from heartland to global screens
MUMBAI: Lights, camera, action, and Madhya Pradesh is ready for its close-up. The heartland of India is fast emerging as a vibrant hub for filmmaking, blending local authenticity with stories that resonate across the globe.
At the recent session From Heartland to International Screens: MP in Focus, celebrated filmmakers, actors, and state leaders came together to explore how Madhya Pradesh is shaping narratives that travel far beyond borders. The panel was moderated by actor and voice artist Vijay Vikram Singh, who set the tone by highlighting the state’s unique blend of culture, heritage, and cinematic potential.
Madhya Pradesh tourism board additional managing director Bidisha Mukherjee, credited the state’s success to its film-friendly policies, ease of doing business, and exotic locations. “From heritage cities like Mandu and Orchha to rural landscapes such as Chambal, MP offers a range of locations that can fit any story,” she said. The state also incentivises women-led and environmentally conscious projects, providing additional support for filmmakers.
Speaking from personal experience, Sunny Hinduja, actor and producer from Indore, praised the warm hospitality and the homely feel of shooting in MP. “The people, the food, the culture, it all makes the filmmaking experience so welcoming,” he said. Hinduja also revealed plans to produce more content in the state, highlighting MP’s potential as a creative springboard.
The Viral Fever president Vijay Koshy underlined the professionalism and dedication of local crews, pointing out that the availability of trained technicians reduces the logistical burden for production houses. Filmmakers also noted that MP’s bureaucracy is unusually proactive, with shooting permissions granted quickly and processes made fully online.
Director Jitank Gurjar, hailing from Gwalior, reflected on the cultural diversity across the state. “Every 50 kilometres, the dialect, the culture, even the way people express emotions changes. Yet human emotions are universal, and MP captures that beautifully,” he said.
Actor Huma Qureshi added her perspective on MP’s growing film landscape, “The state doesn’t just provide locations; it becomes part of the story. There is a warmth and openness here that instantly connects with everyone on set, making creativity flow effortlessly.”
The session underscored Madhya Pradesh’s growing role in India’s creative economy. With a combination of government support, diverse locations, skilled talent, and a welcoming culture, the state is positioning itself as a preferred destination for filmmakers looking to tell stories that resonate both locally and globally.
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.
