Hindi
Palador to release DVDs of Ingmar Bergman
MUMBAI: Palador Pictures, in association with the Embassy of Sweden, has unveiled Ingmar Bergman Collector’s Edition 5 DVD Box Set and a film festival, Remembering Bergman- A Retrospective.
This initiative marks a tribute to Ingmar Bergman, on his first death anniversary.
The films which are available to audiences on the DVD Box Set are: Music in Darkness, Summer With Monika, Through a Glass Darkly, Winter Light and The Silence, with Intermezzo – a freewheeling interview with Ingmar Bergman – as a special feature. The festival will showcase, in addition to some of the films on the DVD box, Wild Strawberries, Summer Interludeand Devil’s Eye.
A six-city screening tour, from 8 August to 18 September, will kick off in Delhi. The movies will also be screened in Bangalore, Pune, Mumbai, Chennai and Kolkata.
Elaborating on the rationale behind the Bergman Retrospective, Palador Pictures founder and MD Gautam Sikhnis said, “Ingmar Bergman’s films have moved, inspired and influenced a host of filmmakers and audiences across the world. It is no wonder that he is often called the greatest cinematic artist ever. It is only just that the nation that makes the largest quantity of films in the world each year, should also get the best quality films from across the world. On the first death anniversary of Bergman, this festival and box set is this nation’s tribute to the great master.”
Another high point of the Retrospective is the presence of Gunnar Bergdahl, director of two documentaries made on Bergman – Intermezzo: Ingmar Bergman and The Voices of Bergman as well as a close friend of the filmmaker. Intermezzo will be screened for students of film and general public at workshops conducted by Bergdahl in Delhi and Mumbai.
Palador Pictures joint MD Mohan Polamar said, “Bergman stormed into the World Cinema scene with two masterpieces in the same year, 1957. Such was the genius of this prolific director without whose name no discussion of cinema would ever be complete. It hurt us to know that masterpieces made by him and other great directors had never been available in this country to the masses. With this festival, I personally feel a sense of satisfaction about the number of people it is reaching out to across the country. When quality cinema as embodied by Bergman is widely seen and appreciated, quality cinema would end up being made as well.”
Supporting this endeavour of making world cinema accessible to the Indian audiences, are partners ICICI, iMint, Indiaplaza, Inox, People Magazine, Myntra and Bright Advertising in India, and The Swedish Institute and the Swedish Film Institute in Sweden.
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.
