Hindi
Crayon Shin-chan the Movie: Our Dinosaur Diary review: Get ready for one of the craziest experiences in theaters as dinosaurs takeover the city
MUMBAI: Crayon Shin-chan the Movie: Our Dinosaur Diary is not just a movie but also a portal to another world and it does its best to make you forget about the real world. For all the Shin-chan lovers, this movie has the same ol’ Shin-chan magic with a twist of dinosaurs that are out to create havoc in Japan. The movie is soon to release on 9th May.
A fabulous job done by director Shinobu Sasaki and writer Moral and Yoshito Usui, who have kept quite a perfect balance between emotional scenes, insane comedy and some really good action scenes. The movie is sure to get us all captivated into its world.
With “Dino’s Island” taking over the city as dinosaurs come alive, Shinnosuke and his friends grow close to Nana, a super-cute and affectionate dinosaur. Their unique bond is soon put to the test when the mysterious Bubble Odoroki targets Nana for a secret purpose, sparking a wild pursuit across Kasukabe and Tokyo.
With a slightly less effective first half, the movie covers up well in the second half with great visuals and unpredictable storyline. The movie is somehow best experienced in theaters as it unites all the Shin-chan fans together. This actually makes up for a great experience as many moments in the movie become more exciting to watch with the audience’s reaction.
The time when Nana used Shiro as a ball to fight back, the scene when shin-chan and the gang get surprised by dancing dinosaurs, the reaction of the audience when Nana changes his avatar and many more moments get hyped, making us more excited and connecting us more deeply with the movie.
Yes, the movie has great humour and there are times when the bar of comedy will be raised really high and the surprising part is that even after all that, the emotional quotient won’t be lost. The dinosaur rampage will be terrifying to watch and at the same time, some scenes will grip you with its emotions.
In conclusion, with a few slippery moments in the first half, this movie is sure to be one crazy roller coaster ride experience for everyone in the audience, making it one of the most memorable movies of the time.
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.
