Movies
Cinepolis opens first Imax location in Kochi; fifth in India
MUMBAI: Kochi-ites can now enjoy the immersive experience that one can only get in an Imax theatre. Exhibitor Cinépolis today announced the launch of the Queen of the Arabian Sea’s first Imax theatre at Centre Square Mall. This is the ffth . This marks the fifth IMAX location for Cinépolis in India, following installations at Viviana Mall (Thane), Westend Mall (Pune), Nexus Shantiniketan (Bangalore), and Nexus Seawoods (Navi Mumbai).
Equipped with the cutting-edge Imax with laser projection system, the new screen delivers 4K projection with unparalleled image quality and stunning visuals. With a seating capacity of 229 and a stadium-style layout, the auditorium ensures every guest enjoys an unobstructed view. Complementing the immersive visuals is Imax’s patented sound system, which delivers exceptional clarity and depth, evenly distributed to elevate every moment on screen.
Said Cinépolis India managing director Devang Sampat: “Kochi is a city renowned for its love of cinema. With this launch, Cinépolis further demonstrates its commitment to technological leadership and innovation, offering audiences an elevated movie-watching experience. The addition of this premium format aligns with the evolving preferences of cinemagoers, who increasingly seek movies crafted for immersive technologies. As more filmmakers embrace these advanced formats, Imax at Cinépolis Kochi is set to redefine how the city experiences blockbuster films.”
Imax vice-president of theatre development Preetham Daniel added: “Audiences in the coastal city can soon experience the unparalleled clarity and immersive sound of Imax, just in time for our exceptional holiday film line-up and an exciting slate of Filmed For Imax titles extending through 2025.”
Centre Square Mall spokesperson Blisson Antony highlighted : “This partnership with Cinépolis elevates our positioning as the premier destination for entertainment and lifestyle in the city. We are confident that the new Imax location will be a magnet for cinephiles, offering them an unparalleled venue to enjoy the best in global and Indian cinema.”
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.
