Hindi
BO: A disastrous week
MUMBAI: It has been a week of multiple disasters at the box office. Purani Jeans, a youth oriented film shot at scenic locations, has not been able to make a mark at the box office. The film barely manages to cross the one crore mark in its first weekend by collecting Rs 1.05 crore.
Angry Young Man and Kahin Hai Mera Pyar have also failed to muster enough footprints to open screenings at many places. Kya Dilli Kya Lahore has met with poor response with negligible figures of Rs 25 lakh to show for its first weekend.
Kangana Ranaut starrer Revolver Rani added little to its opening weekend collections of Rs 6 crore to finish its first week with figures of Rs 8.8 crore. Samrat & Co. is very poor in its first week with collections of Rs 1.4 crore. Kaanchi fares below the mark, its title failing to suggest its theme adding to generally poor promotion of the film. The film has collected Rs 3.6 crore.
Arjun Kapoor and Alia Bhatt starrer 2 States has sustained very well in its second week as well as it collected Rs 24.1 crore taking its two week tally to Rs 84.3 crore. Bootnath Returns has collected 1.2 crore in its third week to take its three week total to Rs 36.05 crore.
Queen has added another Rs 20 lakh for its eighth week to take its eight week total to Rs 58.2 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.
