Hindi
Pyramid Saimira acquires distribution rights for three films
MUMBAI: Pyramid Saimira Theatre, the distribution and exhibition arm of the Pyramid Saimira Group, has acquired the distribution rights for three movies – Saroja in Tamil, Hinglish movie Shoot on Sight, and Ganesha Mathe Banda in Kannada.
The company recently released Hindi film Mukhbiir on 29 August.
Saroja and Shoot on Sight are expected to hit the theatres on 5 September and 19 September, respectively. Saroja is being directed by Venkat Prabhu and the cast includes SPB Charan, Premji Amaren and Siva.
Shoot on Sight has been directed by Jagmohan Mundhra. The movie is inspired by the bombings that occurred in London on 7 July, 2005, resulting in the death of 52 people on London‘s underground network. The cast includes Naseeruddin Shah, Brain Cox, Greta Scacchi, Om Puri, Gulshan Grover, Sadie Frost and Mikaal Zulfiqar. Shoot on Sight has already been released across 60 screens in the UK.
Meanwhile, Veruthe Oru Bhariya, the latest Malayalam film starring Jayaram, has grossed collections of approximately Rs 15 million within two weeks after being distributed in Kerala by Pyramid Saimira Theatre. The film, directed by Akku Akbar, was made with a budget of Rs 14 million.
Speaking on these developments, Pyramid Saimira Group chairman and managing director PS Saminathan said, “We are very happy with the way Veruthe Oru Bhariya has been received by our audiences in Kerala. It was a conscious decision on our part to release the movie across selected 33 screens in the state as this would ensure that collections remain steady over a period of time. We will also be releasing Saroja, Shoot on Sight and Ganesha Mathe Banda shortly and we’re sure that these films will also do exceedingly well. We have also recently released Mukhbiir which is running successfully all over India.”
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.
