Hindi
Kids make film to show effect of Mumbai terror attack on them
NEW DELHI: Twenty school children aged between 11 and 14 have made a film on the terror attack in Mumbai on 26 November to highlight how the violent images have affected the innocent minds of the children.
‘MH 26/11 – Mumbai Under Attack!’ has been funded and supported by the Ryan Foundation under the aegis of Ryan International Group of Institutions.
The Foundation’s Managing Director Grace Pinto conceptualised the docu-drama when she found school children coming up to the teachers after watching the images and asking why terrorists killed innocent people and the mindset behind all divisions and violence.
Pinto and the teachers realised how the terror attack affected the innocent minds and decided to make the film under Children against Violence.
Children against Violence is a project that raises the voices and concern of the young minds against the terror and violence that we see in the 21st century. Recent terror attacks in Mumbai shook the minds and hearts of millions across the world. From candle light vigils to human chains or public gathering, everyone wanted to express solidarity and concern in their own way.
The 20 school children underwent a short filmmaking course for 20 days and besides directing the film, wrote the script, auditioned the right characters for the role, and even edited the film.
The children were trained and mentored by Utkarsh Marwah, the project director for the Ryan Foundation.
They hope that the world will take notice of the work done by these talented kids and showcase the message of how violence and divisions in society affects children.
The Ryan foundation has also planned to take the film across various cities in India, besides showing it to the Education Board before taking it to various festivals.
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.
