Hindi
A poor week at the BO
MUMBAI: Ungli is poor. The film has managed to garner just about Rs 9.55 crore for the first weekend. The film is stale and suffers due to poor title as well as the content. It is the poorest performers among Emraan Hashmi films.
Zid has proved to be the second best in a very poor week. The film, where the producer and the director parted ways and unwanted, explicit scenes came in, failed to work. The film has proved to be an unmitigated disaster managing to collect about Rs 3.5 crore.
Zed Plus, despite limited screenings, has not been able to draw crowds. Happy Ending is a disaster at Rs 19.1 crore in its first week.
Kill/Dil adds another Rs 2.75 crore to its collections in the second week to take its two week total to Rs 33.57 crore.
Chaar Sahib Zaade rocks. The film has added Rs 8.2 crore in its third week (includes Punjabi and Hindi versions) to take its three week total to Rs 23.1 crore.
Happy New Year has added Rs 40 lakh in its fifth week taking its five week total to Rs 171.6 crore.
Rang Rasiya has collected Rs 25 lakh in its third week to take its three week total to Rs 4.95 crore.
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.
