Hindi
Mahindra partners with Indo-American Arts Council for film festival
MUMBAI: Mahindra & Mahindra Ltd. has extended its patronage to the Indo-American Arts Council (IAAC) Film Festival 2007.
The Mahindra Indo-American Arts Council festival, which will be held from November 7-11 at venues across Manhattan in the US, will showcase South Asian features, documentaries and shorts.
Mahindra Group vice chairman & MD Anand Mahindra says, “The Mahindra Indo-American Arts Council Film Festival is yet another way of strengthening our commitment to nurture the arts. With emphasis on cinema of and by the South Asian Diaspora, this festival has carved out a unique niche for itself and we are proud to be at the forefront of this international initiative.”
Adds noted filmmaker and member of IAAC’s advisory board Mira Nair, “The Indo-American Arts Council has given us a home for our work, our stories and our voices. It is a place for us to fly into the world. And like I always believe, if we don‘t tell our own stories, no one else will.”
The 50 films selected this year include stories that range from social issues to gritty suspense dramas. The festival kicks off with the screening of Sanjay Leela Bhansali’s ‘Saawariya’, the first Indian co-production by Sony Pictures. Others in the list include: Gandhi, My Father (directed by Feroze Abbas Khan), Rituparno Ghosh’s The Last Lear and Dosar, and Pan Nalin’s Valley of Flowers.
For the 2007 MIAAC Film Festival, 50 films were selected including 12 world premieres, 11 US premieres and 15 New York premieres. The Festival includes films from several countries including India, Kuwait, France, United Kingdom, USA and Canada.
“We are struck by the sheer diversity of independent film in this year’s festival. The range of artistic expression this year – both directorial and in performances – gives a special quality to the films presented. The films truly uncover the aesthetic experimentation and complex storytelling that is at the heart of emerging independent filmmaking at the moment,” says festival director Pooja Kohli Taneja.
Other highlights include: the ‘AIDS JaaGo Project’ that presents four short dramatic films by cutting-edge Indian directors Mira Nair, Vishal Bhardwaj, Santosh Sivan and Farhan Akhtar that aim to dismantle myths and misconceptions about HIV/AIDS.
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.
