Movies
Colors Bangla curates line up for its audiences this weekend
Mumbai: Colors Bangla is all prepared to amaze its viewers on Sunday, 26 March with its exclusively curated content consisting of the world television premiere of ‘Kaberi Antardhan’ and the most awaited musical award show Mirchi Music Awards Bangla.
Exploring drama, thriller and mystery, Colors Bangla brings to screen the world television premiere of Kaberi Antardhan. Featuring actors Prasenjit Chatterjee, Srabanti Chatterjee, Kaushik Ganguly, Churni Ganguly this gripping thriller will premiere on 26 March at 2 pm on Colors Bangla.
Kaberi Antardhan is a murder mystery set against the backdrop of Naxal movement and the Emergency. The story revolves around a crime and a love story in North Bengal during the Indian Emergency Period. Prasenjit as Arghya Sen pays a visit to the Ghosh residence and the mystery behind Mrinmoy’s (played by Kaushik Sen) sudden demise comes to light and starts unraveling the mystery of Kaberi’s disappearance (played by Srabanti Chatterjee). Directed by actor Kaushik Ganguly and produced by Surinder Films the films also star Churni Ganguly, Kaushik Sen, Indraneil Sengupta, Ambarish Bhattacharya.
In addition to the world television premiere, the channel will also air Mirchi Music Awards Bangla which essentially is a celebration of Bengali musical talent. The show hosted by Parambrata Chattopadhyay, and Imon Chakraborty will see one stupendous act after the other. The musical extravaganza will air on 26 March at 9 pm.
To build awareness and tune-ins, the movie will be heavily promoted on social media including video bytes, count down bytes, break in bytes. The actors will be promoting the show on their social media pages.
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.
