Hindi
&pictures to air Sonakshi Sinha and Sidharth Malhotra’s spine-chilling thriller Ittefaq on Saturday, 21st July 2018 at 8pm
MUMBAI: A CBI officer is assigned a double murder case which involves two witnesses who are also the prime suspects of the case. The officer is presented with both the versions and is entrusted with the humungous task of nailing the murderer. Thus begins a cat and mouse chase to catch the real culprit, which makes for the crux of Ittefaq. Produced by Red Chillies Entertainment and Dharma Productions, Ittefaq is directed by Abhay Chopra and stars Sidharth Malhotra, Sonakshi Sinha and Akshaye Khanna in lead roles. The movie will air on &pictures, Naye India Ka Blockbuster Movie Channel on Saturday, 21st July at 8pm.
Following the Rashomon style of storytelling, Ittefaq has a fast, incisive cutting, anxious, edgy style that keeps the audiences intrigued till the end and boasts of sleek twists and turns. With superlative sharp performances by Sidharth Malhotra, Sonakshi Sinha and Akshaye Khanna, Ittefaq has a gripping narrative sprinkled with some tongue in cheek humour. The movie bagged several award nominations including Best Supporting Actor Male, Best Negative Role, Best Debutante Director, Best Editing amongst others. Ittefaq also features a beautiful rendition of Bappi Lahiri’s ever green song Raat Baaki sung by Nikhita Gandhi and Jubin Nautiyal and is a youth favourite.
The movie follows the story line of Vikram Sethi (Sidharth Malhotra) a renowned British writer who is in Mumbai to launch his second book. With cops on his tail for being charged with his wife’s murder, Vikram runs into Maya (Sonakshi Sinha) and manages to get refuge in her house on a rainy Mumbai night. Maya soon learns that Vikram could be a convict on the run and alerts the cops, who nab Vikram and discover the dead body of her husband Shekhar in the house. Maya accuses Vikram of the double murder but Vikram pleads innocence. The case is assigned to officer Dev (Akshaye Khanna), who must decode the mystery in three days whether Vikram is the victim of Maya’s deceit wrapped in beauty or is Maya indeed the damsel in distress that she claims to be?
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.
