Hindi
Sameer Karnik’s Curfew to be built on Rs 150 million
MUMBAI: Sameer Karnik who last directed Nanhe Jaisalmer with Bobby Deol and is awaiting the release of his next two films, has already started work on a new project. Titled Curfew, the film will have a budget of Rs 150 million.
Produced and directed by Karnik, the backdrop of the film will be based on a curfew. The star cast is being finalised.
“The script is interlinked with a lot of storylines. We are working around a multi-starcast and will boast a lot of characters,” says Karnik.
The film is slated to hit the floors by next month. Karnik plans a 50 day schedule for this plan. Locations would be Mumbai and Delhi. The shooting is intended to be wrapped by October and release will be by the year-end.
Both Roshan (which stars Bobby Deol and Kangana Ranaut) and Heroes (with Salman Khan and Priety Zinta) will hit the screens sometime in June.
Eros Multimedia Ltd has bought the distribution rights of Roshan. All three films including Nanhe Jaisalmer have been sent as a nominee to the Cannes Film Festival.
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.
