Hindi
Adlabs buys majority in Malaysian cinema chain
MUMBAI: Adlabs Films Limited, part of the Reliance Anil Dhirubhai Ambani Group (ADAG), is foraying into the Malaysian market. The company has entered into an agreement for acquisition of controlling interest in Malaysia-based Lotus Five Star Cinemas.
As per the pact, the company will be operating a 51 screen cinema chain in Malaysia.
The deal is a part of the company‘s aggressive strategy to expand its global opportunities.
The chain, which already has a presence in the US, Nepal and Mauritius, will have a footprint across Malaysia now. It will be playing mainstream Hollywood films in addition to movies in the Indian languages like Hindi, Tamil, Chinese and Malay.
Reliance ADAG senior vice president Anil Arjun said, “This acquisition will strengthen Adlabs Cinemas‘ international presence. The international network, in addition to Malaysia, comprises 220 screens covering the East, Mid West and West Coast of USA and also Mauritius and Nepal.”
Adlabs has a presence of 160 screens across India and an international footprint of 220 screens spread in the East, mid-West and some parts of the United States.
The company‘s investor update presentation for the quarter established that Adlabs‘ exhibition business has generated revenue of Rs 423.9 million during the quarter to December 2007.
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.
