Hindi
Indian film included in US university syllabus
NEW DELHI: The film Mahek by K Kanade, which has already won several awards overseas, has been selected by a major college in the United States to form part of its curriculum syllabus of the integrative studies programme on Modern India.
Otterbein College in Ohio which is one of the oldest universities in the United States (founded in 1847), has said that the film produced by the Children’s Film Society, India, has been selected the film as it is an introspective Hindi film that sensitively portrays the world of children and their rights.
Faculty President Jiten V Ruparel has in a notice said that the film has been winning awards and accolades at various international festivals.
Mahek recently bagged the Best Feature Film (Family) Platinum Remi Award at the prestigious 41st Houston International Film Festival 2008 and the best feature film award at the 10th Arpa International Film Festival in Hollywood.
The film had been nominated in Houston for as many as six categories including the Best Feature Film at the Festival: Director, screenplay, first Feature, best foreign film and best Family Film.
Mahek had its world premiere at the prestigious 51st London Film Festival 2007 and later was screened at several International Film Festivals including the 32nd Cleveland Film Festival, and at St Louis, Chicago, Frankfurt and Sydney. This was the only Indian film at the Houston festival.
Mahek is a young girl‘s journey towards self-realization. It looks at the world through the imaginative eyes of children and examines their rights. What children miss most is respect – for them and for their imagination. Eleven-year old Mahek wants to be the best in everything, but she does not know what she is best at. To complicate things, an old, magic-less Modern Fairy walks into her life and brings her face to face with reality.
The cast of the film include Shreya Sharma, Anuya Bhagwat, Madan Deodhar, Anuja Borkar, Dheeresh Joshi, Madhavi Gadgil and Lalan Sarang. The international crew was made up of Music Composer Mathieu Lamboley based in Paris, Associate Director Matthias Schwelm based in Berlin, and Second Associate Director Sania Jhankar studying at Tisch, New York. The Indian crew had DOP Mrinal Desai, Co-Writer Kedar Dharwadkar, Editor Suchitra Sathe, Sound recordist Anmol Bhave, Re-recording artists Anup Dev-Subir Das, Costume designer Dinaaz Gabrani and Makeup Director Kavita Koparkar.
Legendary artist Mario Miranda did the sketches for this film. It is for the first time that Miranda has drawn for a Hindi feature film.
According to Kanade, “My first feature film Mahek looks at the world through the imaginative eyes of children and examines their rights. What children miss most is respect. Respect for them and respect for their imagination. For a child, a flower is as important as food, shelter and clothing. The education system in India could put more emphasis on aesthetics and philosophy.”
Kanade is an alumnus in film direction from the Film and Television Institute of India in Pune who also completed the Producers Program from UCLA. His thesis film Chaitra won Three National Film Awards and two National Awards at MIFF. It was included in a special DVD release: Master Strokes- 20 First Films from 45 year history of FTII. Mahek is his first feature film.
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.
