Hindi
CCI issues cease & desist order against NIMPA
MUMBAI: The Competition Commission of India (CCI) issued an order on Monday against Northern India Motion Pictures Association (NIMPA) directing it to cease and desist from indulging in anti-competitive conduct.
According to a press release, the order has been issued in a case filed by Shri Ashtavinayak Cine Vision against NIMPA and other film associations alleging inter alia contravention of the provisions of sections 3 (anti-competitive agreements) of the Competition Act, 2002.
The Commission found NIMPA‘s practices of pressuring the distributors to settle the monetary disputes with its members to be in contravention of the provisions of Competition Act.
The Commission also directed NIMPA to file an undertaking regarding compliance of its order within a period of 30 days from the receipt of the order.
As NIMPA was already directed by the Commission in earlier cases to suitably modify its Articles of Association (AoA), rules and regulations and remove the condition of compulsory registration of films as a pre-condition for release, the Commission did not find it necessary to pass similar directions again in the present case.
The Commission also did not find it appropriate to impose any penalty upon NIMPA in light of the facts and circumstances of the present case.
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.
