Hindi
Palador partners Blue Frog to form Cine-Club
MUMBAI: The world cinema company Palador Pictures and Blue Frog, the night club which started in Mumbai in December 2007, have joined forces to launch ‘Palador & Blue Frog Cine-Club‘.
As per the deal, best of Palador‘s world cinema titles will be screened on Sunday evening‘s at Blue Frog, giving a chance to all the cinephiles to relish the masterpieces.
The club is starting with the screening of Martin Scorsese‘s music documentary Rolling Stones – Shine A Light on Sunday, 8 February at 8 pm at Blue Frog.
Palador Pictures founder and MD Gautam Shiknis said, “This is going to be a unique experience for all the cine lovers in the city. Palador is an integrated media enterprise that spans production, content acquisition, programming and distribution in the areas of film, publishing and Internet and has always worked on quality than quantity. The alliance with Blue Frog is a tastefully designed initiative keeping in mind the club‘s existing client?le giving them taste of World Cinema. What better movie to open with than Shine A Light.”
Forthcoming movies in the coming weeks will be In the Mood for Love, Down by Law, Coffee & Cigarettes among others.
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.
