Hindi
Box office: ‘ABCD 2’ collects Rs 71.15 crore
MUMBAI: The only release of the week, Miss Tanakpur Haazir Ho finds no takers. A product of weird imagination, it sinks taking its crudity along.
ABCD 2 sustains well through its first week catering to youth at elite multiplexes to collect Rs 71.15 crore. The film is enjoying open run sans opposition and should maintain steady run in its second week.
Hamari Adhuri Kahani does okay in its second week by collecting Rs 4.45 crore to take its two week tally to Rs 30.95 crore.
Dil Dhadakne Do added Rs 3.75 crore in its third week, taking its three week total to Rs 73.65 crore.
Tanu Weds Manu weathers rains, heat and oppositions. The film has collected Rs 3.25 crore in its fifth week to take its five week tally to Rs 149.63 crore.
Piku has added about Rs 10 lakh in its seventh week taking its seven week tally to Rs 80.02 crore.
Sardarji, a Punjabi film released in Punjab, Delhi, Mumbai and a few other centres has proved to be another trailblazer from its superstar hero, Diljeet Dosanjh. The film has collected over Rs 8.5 crore in its opening weekend from India alone while also going strong in the overseas markets.
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.
