Hindi
Box Office: ‘Tanu Weds Manu Returns’ shines; ‘Piku’ marches forward
MUMBAI: Tanu Weds Manu Returns has braved two vital IPL matches to put up decent weekend figures. The film, while not finding much favour as it went from A to B to C class screens, however, performed well at elite multiplexes improving over Saturday and Sunday over its comparatively weak opening of Friday. The film collected Rs 38.7 crore in its opening weekend and will need to continue the good run to break even.
Anurag Kashyap’s Bombay Velvet met with total rejection from day one by moviegoers. The film ended its opening Friday with pathetically poor collections and failed to improve over the next two days. Monday onwards it was a free fall, collections deteriorating each day to put together a lowly Rs 21.65 crore for its first week. Earlier, when people in the trade cited a high-priced disaster, it was Razia Sultan. For this generation, it is Bombay Velvet. At least, Razia Sultan enjoyed some shelf value and curiosity, thanks to its music and popularity of stars.Bombay Velvet is utterly forgettable.
Piku continued to maintain strong trends in its second week, too. Being a wholesome entertainer, it holds appeal to all which reflects on its box office collections. The film has added Rs 23.8 crore to its first week figure of Rs 41.42 crore and takes its two-week total to Rs 65.22crore. Adding another Rs 6.5 crore for its third weekend, the film’s 17-day tally stands at Rs 71.22 crore.
Gabbar Is Back has managed to collect Rs 4.3 crore in its third week to take its three-week total to Rs 78.8 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.
