Hindi
Raaz- TMC garners Rs 210 million at box office
MUMBAI: Raaz – The Mystery Continues, co-produced by Vishesh Films and music label Sony BMG, has raked in Rs 210 million in its first four days at the box office in India. Overseas collections were yet to be tabulated at the time of writing.
The film, which is being domestically distributed by Sony Pictures Entertainment (SPE) India, is hoping to rake in close to Rs 350 million as the film’s first week collections.
Written by Shagufta Rafique, Raaz – TMC witnessed a simultaneous release in India and internationally across 1000 screens on 23 January.
Says Sony Pictures Entertainment India MD Kercy Daruwala, “It‘s a great start. Raaz-TMC has been a great success all over and we are proud to be associated in this venture with Vishesh Films.”
Earlier, SPE had distributed Sanjaya Leela Bhansali’s Sawariyan in India.
Raaz – TMC stars Emraan Hashmi, Kangana Ranaut and Adhyayan Suman. The music of the film, released by Sony BMG, has been composed by Raju Singh, Sharib-Toshi, Pranay M Rijiya and Gourov Dasgupta. Sonu Nigam, KK, Shreya Ghosal, Toshi and Krishna are the playback singers of the movie.
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.
