Hindi
Tu Hai Mera Sunday to premiere at London Film Fest
NEW DELHI: Milind Dhaimade’s directorial debut feature Tu Hai Mera Sunday (You Are My Sunday!) will have its world premiere at the 60th British Film Institute’s London Film Festival in the `Love’ section on 15 and 16 October 2016.
The film will have its India premiere at the Jio MAMI’s 18th Mumbai Film Festival 2016 in the competition category – “India Gold”.
Produced by Varun Shah, the movie features TV star Barun Sobti (Is Pyar Ko Kya Naam Doon fame) along with Shahana Goswami, Rasika Dugal (Qissa, Manto fame) Avinash Tiwari, Vishal Malhotra, and Maanvi Gagroo (TVF Pitchers & Tripling fame) and is the story of five middle class amateur footballers and their everyday struggle in Mumbai.
Writer-director Milind said: “A film about five regular guys looking for space in Mumbai finds a spot at the prestigious BFI London Film Festival. This is how happy endings begin.”
Barun added: “This film has been made with the love for the times we live in. It’ll tell you how to fight for them.”
Rock on fame Shahana Goswami says “It’s always wonderful to be able to show your films as a part of a larger international selection to an international audience. THMS will show a new world of Indian independent cinema, with a charm and honesty that is truly representative of the urban youth in India.”
Milind Dhaimade is an ex ad man who quit advertising to make films. In 2010, he along with his wife Rajul, started “Love & Faith” a film making and design company. So far he has directed over 100 TV commercials.
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.
