Hindi
Aamir Khan’s ‘PK’ to release across 3500+ screens in China
MUMBAI: The Aamir Khan starrer PK, which is directed by Rajkumar Hirani, is all set to release in China across 3500+ screens on 22 May, 2015.
The Chinese premiere of PK will be held today – 13 May – at the Shanghai Art Center – the biggest theatre in Shanghai.
Khan’s voice in the Chinese version of the movie has been dubbed by A list Chinese actor Baoqiang Wang, who was appointed by the China Film Group. Wang is the Chinese equivalent of Khan at the movies there and has several box office successes, including Lost in Thailand, the highest grossing Chinese movie ever, to his credit.
The Chinese premiere will be attended by the Chinese Aamir Khan Fan Club (100,000+ members). The Indian Consulate will be present there with their representatives, and 400 odd members from Indian community will also be attending and will be handled by Indian Community association.
In a bid to promote the film across the media and fans in China, a cross cultural publicity plan has been crafted where Khan, Hirani and producer Vidhu Vinod Chopra and the presenters UTV Motion Pictures, along with international sensation Jackie Chan and Wang will be spreading the buzz around the film in China.
The film, produced by Vinod Chopra Films and Rajkumar Hirani Films in association UTV Motion Pictures released worldwide on 19 December, 2014. The movie also stars Anushka Sharma and Sushant Singh Rajput.
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.
