Hindi
Controversial gay film ‘Dunno Y2 – Life is a Moment’ gets release date
NEW DELHI: After a protracted battle with the Central Board of Film Certification (CBFC), the controversial gay film Dunno Y2 – Life is a Moment is slated for release on 17 September.
By sheer coincidence, the film is being released on the same day as Roland Emerich’s LGBT filmStonewall that kick-started the modern day gay movement. The Stonewall riots are often regarded as the birthplace of the LGBT movement.
Dunno Y2’s makers hoped that the movie will bring about a revolution for homosexuality lifestyle amongst the 2.5 million LGBT closeted community in India.
The film is on equality rights and conveys the message that love is above gender, race, religion or human boundaries. The film, which celebrates human rights, revolves around the love story of two boys – Aryan and Ashley.
In part one Dunno Y Na Jaane Kyun, Aryan and Ashley fell in love but it had a tragic ending. However, Dunno Y2 – Life Is a Moment has moved on to celebration. It is the first Indian film, which will have two men getting married. This becomes even more important, as one is a Pakistani Muslim and the other an Indian Hindu. The filmmakers point out that if in India the conditions of LGBT rights are bad, in Pakistan they are worse.
The film is set in Norway, where same sex marriage has been legal for years. It is first Indian Norwegian collaboration film.
The film stars Kapil Sharma, Yuvraaj Parashar, Zeenat Aman, Pakistani actress Meera, Sadia, and a host of European actors and has been directed by Norwegian director Tonje Gjevjon and Indian director Sanjay Sharma. The sequel is a musical romantic comedy in three languages Hindi, English and Norwegian.
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.
