Hindi
Kolkata Film festival to open with late Ghosh’s unreleased movie
KOLKATA: The 19th Kolkata International Film Festival (KIFF) will open with the screening of an unreleased film of the iconic Rituparno Ghosh, amid the presence of a galaxy of stars including the legendary Amitabh Bachchan.
“Ritu da is no more with us. But he continues to live with his immortal creations. His unreleased film Taak Jhaank (Sunglass) will be screened for the first time in the inaugural ceremony of the 19th Kolkata International Film Festival on that day,” West Bengal Chief Minister Mamata Banerjee said.
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Ghosh’s satire Taak Jhaank brings together the two veterans of Bollywood – Jaya Bachchan and Naseeruddin Shah for the very first time. Ghosh died 30 May following a heart attack.
The film festival to be inaugurated by Amitabh Bachchan on 10 November would be graced by a number of luminaries including megastar Shah Rukh Khan – also the state’s brand ambassador as well and versatile actor Kamal Hassan.
Incidentally, the opening day of the fest will coincide with the international Test Match between India and West Indies at the Eden Gardens where batting maestro Sachin Tendulkar will be appearing for the last time before he hangs up his boots after playing the next – his 200th in Mumbai.
Kolkata will be honoured to have a very eventful day on 10 November. The cricket legend Sachin Tendulkar will be playing the last day of his 199th Test match at the Eden Gardens on that day. Kolkata’s showpiece event, the KIFF will also be held on that day in the august presence of iconic Amitabh ji, Shah Rukh and Kamal Hassan. We are so lucky to have the presence of all those luminaries on a single day at Kolkata,” added Banerjee.
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.
