Hindi
BookMyShow Stream adds exclusive content to its movie library
Mumbai: With Indian audiences confined to their home due to the second wave of coronavirus outbreak, BookMyShow Stream is offering engaging content to the viewers. From drama to action thriller, BookMyShow Stream will be streaming movies like The Secrets We Keep, Daniel, and Redemption Day to the viewers starting 21 May.
Viewers can buy or rent these films and pay only for the content they like.
·The Secrets We Keep: Directed by Yuval Adler, the movie stars Joel Kinnaman, Chris Messina, and Naomi Rapace in the lead roles. The drama-thriller revolves around the life of a woman who rebuilds her life in the suburbs with her husband. Later, she kidnaps her neighbour and starts seeking vengeance for heinous war crimes he committed against her during the time of World War II.
·Daniel: Directed by Neils Arden Oplev, it is a drama that narrates the story of a young Danish photojournalist who was held hostage for 398 days in Syria by the Islamic State of Iraq and Levant (ISIS). The film follows Daniel’s struggle to survive in captivity, his friendship with James, and the nightmare of the Rye family back home in Denmark as they try to cope with the fear that they may never see their son alive again. At the centre of this crisis, we find hostage negotiator, Arthur, who plays a pivotal role in securing.
·Redemption Day: An action thriller directed by Hicham Hajji it revolves around the life of a war hero whose life turns upside down when his girlfriend gets kidnapped. To seek vengeance, the war hero starts his deadly operation to hunt down the shadowy forces.
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.
