Hindi
Balaji joins hands with PNC to produce Shaadi Ke Side Effects
MUMBAI: Balaji Motion Pictures has joined hands with Pritish Nandy Communications (PNC) to produce the sequel of PNC‘s 2006 hit Pyaar Ke Side Effects.
The sequel titled Shaadi Ke Side Effects stars Farhan Akhtar and Vidya Balan in principal roles. They are joined by Vir Das, Ram Kapoor and his wife Gautami, singer-actress Ila Arun and singer Hariharan who will play Farhan‘s father in the film.
Saket Chaudhary, director of the original, would also direct the sequel.
The iconic characters, Sid and Trisha, come to life in the sequel, now as husband and wife. Sid having beaten his fear of marriage and Trisha having finally gotten around to saying her vows the third time round. Now they must address themselves to the impossible task of coping with each other‘s fantasies and realities. Will they succeed? That is what Shaadi Ke Side Effects is all about.
Avers producer Pritish Nandy, “We have the hottest stars of 2013 with us in Farhan after Zindagi Na Milegi Dobara and the star of the upcoming film Bhaag Milkha Bhaag and Vidya after The Dirty Picture and Kahaani together for the first time on screen. They make the perfect Sid and Trisha, each fighting for space in their marriage. Shaadi Ke Side Effects is a witty, sexy, hilarious comedy that will warm your hearts and to all you newly-weds, it‘s time to pick a side again in the war of Mars versus Venus.”
This film will be the second outing of Ekta Kapoor and Vidya Balan together after The Dirty Picture. Observes Ekta, “Shaadi Ke Side Effects is going to be a laughathon and entertainment all the way! It‘s going to be exciting working with Farhan who is extremely talented and of course Vidya Balan who is an actress par excellence and my personal favorite.”
Shaadi Ke Side Effects goes on floors on 17 February and is likely to release on 6 December, this year.
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.
