Hindi
Anurag Kashyap and Zeishan Quadri team up for ‘Meeruthiya Gangsters’
MUMBAI: Anurag Kashyap and Zeishan Quadri, who have earlier worked together in Gangs of Wasseypur 1 & 2 series, have come together yet again for Meeruthiya Gangsters.
While Quadri has directed the film, Kashyap has edited it. It was in the process of editing the film that Kashyap found the script very interesting and hence decided to present the film too.
Kashyap, who has already worn the director’s and producer’s hats has now stepped into the editor’s shoes with Meeruthiya Gangsters and will also be active for all the promotional activities and events for the film.
Kashyap will launch the first trailer of the movie in the first week of August.
“When Zeishan invited me to see the first cut, I kind of made an excuse, because I was scared I might not like it. Then Vasan Bala called me and said he was blown by it. Then I went and saw it and was not just surprised but completely taken in by it. Vasan and I sat with him and gave our feedback. The film is so funny and edgy and also so contemporary. A modern India that’s developing in the shadows of shopping malls and aspirations and need to be rich overnight. I loved the film and so decided to come on board. You see the film and you can see where the characters of Wasseypur came from,” said Kashyap.
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.
