Hindi
’17-18: Eros Media to produce 50 films in multiple languages
MUMBAI: Eros International Plc, a leading global company in the Indian film entertainment industry, has announced that its majority-owned subsidiary, Eros International Media Limited, released its film production lineup for 2017-18.
Eros International Media plans to produce over 50 films across multiple languages, making it the largest slate by any Indian studio this year, offering a diversified slate of marquee and content-driven films. In addition to this strong production slate, the Company will also continue to selectively acquire content on an opportunistic basis, according to a Business Wire release in the U.K.
The company has ramped up its own productions with an exciting lineup under development, encompassing a significant number of releases across budgets, genres and languages through key partnerships. These partnerships include talented producer-director, Aanand L Rai and their joint production entity Colour Yellow Production, NextGen Films and Trinity Pictures, Eros’ in-house franchise label.
Eros International Media managing director Sunil Lulla said, “We are delighted to collaborate with some of the best creative forces in the business and build a strong portfolio of films. We continue to see great opportunity in nurturing talent, creating IP in-house and remain focused on delivering our promise to provide wholesome entertainment to audiences with the right mix of popular and content driven cinema”.
Following the critical and commercial successes of Raanjhanaa, Tanu Weds Manu Returns, Nil Battey Sannata and Happy Bhag Jayegi, Eros continues its association with Aanand L Rai and will roll out eight more titles with Colour Yellow which include Rai’s directorial venture starring Shah Rukh Khan, a quirky romantic comedy Shubh Mangal Savdhaan by south director RS Prasanna and two films, Mukkebaz and Manmarziyaan, will be helmed by Anurag Kashyap and Rahul Sankalya’s Nimmo. Following the success of Happy Bhag Jayegi, director Mudassar Aziz will reunite on a film he will direct along with another interesting collaboration with Navdeep Singh (of NH10 and Manorama Six Feet Under fame) for a project that is currently in the scripting stage. Additionally, a Malayalam film Moothon starring Nivin Pauly that Rai will be co-producing with Ajay Rai and Alan McAlex, to be directed by Geetu Mohandas, who’s last film Liar’s Dice was India’s official entry at the 87th Academy Awards is also in the pipeline from the banner.
Aanand L Rai said, “Eros and Colour Yellow share an amazing synergy which reflects in the kind of films we make together, showcasing Indian ethos that touch hearts. What makes this association special is how, as partners, the teams bond and celebrate each project together.”
Eros’ new slate also boasts of five films in association with NextGen Films, namely the blockbuster actor-director duo—Tiger Shroff and Sabbir Khan’s action-packed musical Munna Michael, Sushant Singh Rajput’s space odyssey Chandamama Door Ke, directed by Sanjay Puran Singh and directors Rahul Dholakia and Sabbir Khan’s next projects along with another project titled Make in India to be announced soon.
Director Rahul Dholakia adds, “Eros and NextGen are very established film companies and I am looking forward to partnering with them in my next venture.”
Trinity Pictures, the company’s visionary venture and in-house franchise label has five franchises across new and diverse genres lined up in the next couple of years— a spy-superhero film, Sniff directed by Amole Gupte, a live action bilingual (Hindi and Tamil) elephant film to be directed by multiple award winning Tamil director, Prabhu Solomon, ace director Krish’s buddy cop film which will be shot in Hindi and Tamil simultaneously, featuring popular lead actors from both South and Bollywood and two Indo-China co-productions, a first for any Indian studio—Kabir Khan’s travel drama and Siddharth Anand’s cross-cultural romantic comedy.
“It’s exciting to jointly develop the Indo-China project with Eros and I hope we create new milestones together. This project will reach out to a much wider audience, new geographies and territories opening up the fastest growing film market of the world, China”, added director Kabir Khan.
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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.
