Hindi
Lionsgate Play Premiers 47 Meters Down:Uncaged in English, Hindi, Tamil and Telegu
47 Meters Down: Uncaged is a 2019 American-British survival horror film directed by Johannes Roberts and written by Roberts and Ernest Riera and a sequel to the 2017 hit 47 Meters Down. The plot follows a group of teenage girls who scuba dive to a ruined underwater city, quickly learn they have entered the territory of the deadliest shark species in the claustrophobic labyrinth of submerged caves. The film will be available in English, Hindi, Tamil and Telegu on partner platforms of Lionsgate Play – Vodafone Play, Airtel Xstream, Idea Movies&TV on Friday,3rd July 2020.
Shot against the beautiful landscape of South America, 47 Meters Down: Uncaged, starring Sophie Nélisse, Corinne Foxx, Brianne Tju and Sistine Stallone is about the diving adventure of four teenage girls exploring a submerged Mayan City. Once inside, their rush of excitement turns into a jolt of terror as they discover the sunken ruins are a hunting ground for deadly great White Sharks. With their air supply steadily dwindling, the friends must navigate the underwater labyrinth of claustrophobic caves and eerie tunnels in search of a way out of their watery hell. The film received rave reviews for it’s cinematography and critically shot underwater scenes. Viewers will start longing for a holiday while watching this film.
The lead characters in the movie have adventure on their mind but little do they know that a trip that’s got them excited could very well be a terrifying trap. Watch this film to know how well-prepared they are for the dangers under the sea!
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.
