Hindi
Mukta Arts buys majority stake in Manish Goswami’s movie company
MUMBAI: Subhash Ghai-promoted Mukta Arts has agreed to buy 50.01 per cent stake in Manish Goswami‘s newly started movie company at par value.
The purchase price of Red Carpet Films, which is yet to produce any movies, is pegged at Rs 2,50,470. “We plan to increase the bandwidth of our production capability. Although Red Carpet Films has not produced any movie so far, it is in advanced discussions with distributors globally for output deals,” says Mukta Arts CEO Ravi Gupta.
Red Carpet Films plans to produce 3-4 movies a year. “We are looking at producing medium budget films in the range of Rs 60-120 million. We will soon be announcing an output deal with a corporate to produce films for them,” says Goswami.
Mukta Arts has entered into a shareholder‘s agreement to acquire 25047 shares (of Rs 10 each) of Red Carpet Films, the company says in a release.
Goswami also runs a TV content company, Siddhant Cinevision, which is not part of the deal. Siddhant Cinevision has made successful serials like Parampara, Kittie Party and Ashirwaad.
Mukta Arts posted a revenue of Rs 1 billion for the fiscal ended 2006-07, releasing four films during the year.
Shares of Mukta Arts rose 7.8 per cent to close Monday at Rs 111.25 on the BSE.
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.
