Hindi
Ghajini grosses Rs 900 million
MUMBAI: Aamir Khan
Ghajini has collected Rs 700 million from the Indian theatres while in overseas market it has pocketed close to Rs 200 million.
Distributed by The Indian Film Company in India, Ghajini was released across 1400 screens with 1200 prints.
Ghajini was released by Reliance Big Pictures, the motion pictures brand of Reliance Big Entertainment, in 22 countries internationally with 250 prints. The key markets included the UAE with 36 prints, the US and Canada with 112 prints, and the UK with 65 prints.
According to the data provided by Big Pictures, the film opened with $1.4 million in North America and with $0.92 million in the Middle East. The other countries across which Ghajini saw a simultaneous release are Ireland, Norway, Germany, Denmark, Holland, Netherlands, Belgium, South Africa, New Zealand, Fiji, Mauritius, Hong Kong, Singapore and Australia.
Big Pictures is planning to release in four additional countries – Myanmar, Uganda, Malaysia and Morocco – in the coming weeks.
“Ghajini’s performance demonstrates that the overseas audiences are equally accepting quality action films, which are still a rarity, coming out of India. We are extremely pleased with the films opening, which has created bench marks in various International markets like North America, Australia and the Middle East,” says Big Pictures COO – International Film Business Jawahar Sharma.
A Geetha Arts production, Ghajini is a remake of the critically acclaimed Tamil language film with the same title, also directed by AR Murugadoss. The film stars Aamir Khan, Asin Thottumkal, Jiah Khan, Mohit Ahlawat, Pradeep Rawat and Riyaz Khan. Ravi K Chandran is the cinematographer.
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.
