Hindi
Palador acquires Scorsese’s Rolling Stones’ film Shine a Light
MUMBAI: Palador Pictures Pvt Ltd has acquired Martin Scorsese-directed documentary film on Rolling Stones Shine a Light.The film, which opened at the Berlin International Film Festival on 7 February, is slated for an April release in the US and will also see an Indian theatrical release.
The film focuses on two concerts of the band in 2006. Besides extensive coverage of this concert, the documentary also features historical footage, interviews and behind-the-scenes footages from the four decades of the band‘s existence, including footage from Bill Clinton‘s birthday party in which the band played.
Palador Pictures MD and Founder Gautam Shiknis said, “We are constantly striving to add new and great quality content to our repertoire of 1000 films. Shine a Light combines two masters in two respective genres, the Rolling Stones in music and Martin Scorsese in movies. We want to expose lovers of both music and cinema in this country to this lethal combination.”
Palador Pictures co-founder and Joint MD, Mohan Polamar added, “Musical documentary has not garnered mass appeal or the detailed attention of the entertainment industry. However, there is a huge audience for the same. We are sure music lovers will lap up this opportunity and go to see the movie in hordes. We also want to show the strength of this genre in this country by doing some interesting events to promote the film.”
The film will be theatrically released in India with 50 prints across the country. Palador also has plans to screen the film, combined with live gigs performed by local bands across the country in exclusive clubs.
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.
