Hindi
Indian documentary breaks record for longest run in Indian cinemas
MUMBAI: Sundance Grand Jury Prize-nominated Indian film Fire in the Blood has been held over for a fourth week at PVR Phoenix in Mumbai, thus becoming the first-ever non-fiction film to achieve a four-week commercial theatrical run in India.
“This is a dream come true and a real testament to the fact that audiences in India are hungering for new and different types of films,” said producer-director Dylan Mohan Gray. “The word of mouth has been just incredible, and definitely the key factor in sustaining interest in Fire in the Blood,” he added. “I get e-mails, especially from students, every single day telling me how blown away they were by the movie and how they’ve prodded their friends to rush to go see it while it’s still running.”
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Fire in the Blood tells the story of a unique and eclectic group of people who came together from India and other parts of the world to stop the ‘Crime of the Century’, whereby low-cost AIDS medicine was being deliberately withheld by Western pharmaceutical companies and governments from reaching Africa and other parts of the developing world, resulting in a minimum of ten million needless deaths. The film has won three major international awards, including the Prize for Political Film in Hamburg in early October, and has been consistently listed as an outside Oscar contender in the documentary feature category by The Hollywood Reporter and other US industry sources.
PVR Joint Managing Director Sanjeev Kumar Bijli, said “We feel a huge amount of satisfaction in seeing our film Fire in the Blood break the record for most consecutive weeks in theatrical release by a documentary in India. PVR Director’s Rare has been the standard-bearer for bringing world-class non-fiction and art house films to Indian audiences, and it is a source of immense pride for us to see audiences responding so strongly and keeping a film like this in the cinemas, fuelled by strong word of mouth and outstanding critical acclaim.”
Fire in the Blood is narrated by Oscar-winning actor William Hurt.
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.
