Hindi
Adlabs launches India’s first 6D cinema in Agra
MUMBAI: Adlabs Cinemas, part of the Reliance Anil Dhirubhai Ambani Group, has launched India‘s first 6D cinema in Agra that is based on the Cinema Park format.
The main aim of a Cinema Park is to create an “overall cinema experience” so that viewers can not only see movies but also experience them through every other sense – sight, smell, sound, touch, motion and above all – interactive.
By providing a “multi-sensory cinematic experience”, the newly launched 6D Cinema aims to become a “distinctive global tourist entertainment attraction”.
“As a prominent fixture on the international tourist map, Agra joins an impressive list of destinations across the world that will host a unique 6D attraction. We have plans to introduce this format at other popular tourist destinations such as Jaipur and Goa as well as international airport terminals, adding a whole new dimension to the country‘s tourism and entertainment industries. We believe that Indian culture and entertainment have a huge audience internationally and this – going forth from our new cinema chains in both the US and Malaysia – is the next step towards taking India to the world,” said Adlabs Cinemas COO Tushar Dhingra.
“Apart from tourists, the Cinema Park format is ideal for schools and educational institutes, employee programmes and families, and will help us to better utilise our capacity and extend our operating hours,” he added.
Adlabs Cinemas had earlier partnered with the worldwide Cinema Park Network to pioneer the multi-sensory cinema experience in India.
The network has completed approximately 450 projects across the world in cities such as Jerusalem, Rome, Baltimore, Orlando, Mexico, Athens, Warsaw and Tel Aviv.
Cinema Park Network founder and CEO Ori Yardeni said, “We are proud that India, which is an important tourist destination, is joining our global network. We have already set-up multi-sensory experiences in other parts of the world, including Disney World in Florida, and now India is our first installation in Asia. We will provide the tourist agencies and operators with a state-of-the-art unforgettable experience, based on a solid commercial partnership.”
A special half-hour film called India in Motion has been specially created within this format wherein Indian actor Anupam Kher will take the audience through India‘s evolution from an ancient civilization to a modern nation “bustling with activity and abundant with opportunity”. Other films which have been popular in other Cinema Parks across the world such as Journey through the Universe will also be screened.
“India in Motion in Agra is going to be one of our flagship Wonders of the World (WoW) projects. WoW is going to be a major player in the tourism industry, and our plan is to set-up similar experiences in the most toured destinations in the world. India in Motion actually complements the visit at the Taj Mahal monument, and turns it into a live experience,” added Yardeni.
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.
