Hindi
Bollywood comes out in support of the LGBT community
MUMBAI: Everyone was in for a shock yesterday when the Supreme Court ruled that there was no constitutional room for change in Section 377 of the Indian Penal Code that holds same gender sexual relationship an offence. The Bollywood fraternity, which in the age of social media has become really vocal, especially when it comes to supporting the social causes, even this time came out to criticise the SC’s ruling. Many people from the industry started tweeting as soon as the news broke.
Section 377 of IPC makes gay sex an offence punishable with up to life imprisonment, said a bench of justices GS Singhvi and SJ Mukhopadhaya while overruling an earlier verdict by the High Court that had decriminalised same sex relationship.
Filmmaker Karan Johar tweeted: “#Sec377 is not just a violation of human rights but also makes democracy seem like a mirage in our country….”. This was even retweeted by fashion designer Manish Malhotra.
Actor Adil Hussain wrote: “Ramdev and Judiciary have forgotten the Role of Shikhandi and Brihannala in Mahabharata.Wonder what Values they are talking about!! #Sec377.”
Filmmaker Farhan Akhtar, who has been initiating many movements of late online, was upset with the ruling as well, but expressed himself in just one-liner, “The Supreme Court got it wrong today.”
Actor Richa Chadda, who has been known for her fiery and strong characters, tweeted, “The Supreme Court criminalises love, again. Sad day.”
Kabir Bedi wrote: “It’s a sad day when the Supreme Court of India does not uphold the democratic rights of sexual minorities. #Sec377 #LGBT”. He continued, “The State should stay out of the bedrooms of consenting adults. SC upholding regressive law seems bigoted. #Sec377 #LGBT.”
Even actor Anushka Sharma, didn’t hesitate to present her disappointment. She tweeted, “So disappointed with the SC (supreme court) verdict. Freedom is such a deceptive term. Rights are an ambiguous mystery.”
Singer-actor Shruti Haasan wrote, “11.12.13 a day that reminds us how blatant regressing and oppressing someone has become – plan b move bedroom to another planet and time… (It is) frightening how someone else decides how when and who you should love – basically freedom of choice isn’t legal anymore.”
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.
