Hindi
Box Office :Indifferent
MUMBAI: The week had a lineup of releases, mostly irrelevant and unpublicized. Strange, how they were expected to draw audience! Raman Raghav 2.0 was the only noticeable release, thanks to its controversy with CBFC; this only gave the film better of the bad lot status. The other film to register some footfalls was Junooniyat. The rest, Rough Book, 7 Hours To Go, DilTohDeewana Hai, were poor.
Raman Raghav 2.0 could not breach the one crore mark on day one despite grabbing media columns with its controversy with CBFC; probably, Anurag Kashyap’s own standing controversy with CBFC because of Udta Punjab eclipsed Raman Raghav 2.0.
The film collected Rs85 lakh on day one, adding a little extra to cross the Rs One crore mark on Saturday and Sunday being static, it ended its opening weekend with Rs3.6 crore.
Junooniyat, though on a very low side, made its presence felt at the box office by collecting Rs2.3 crore for its first weekend.
Udta Punjab did its most in its opening weekend with collections of Rs33.75 crore but failed to sustain Monday onwards as, over the next four days, the film managed to collect barely 50 percent of its weekend figures of Rs 14.05 crore, to take its first week total to Rs47.8 crore.
Dhanak, despite positive word of mouth, remained a low grosser. The film collectedRs1.25 crore for its first week.
Te3n, after an indifferent first week reception at the box office, goes for a free fall in its second week. The film collectedRs2.1 crore in its second week taking its two week tally to Rs17.2 crore.
Do Lafzon Ki Kahaniadded Rs25 lakh in its second week to take its two week total to Rs3.65 crore.
Houseful 3 saw through its third week with Rs3.5 crore taking its three week tally to Rs106.6 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.
