Hindi
Dabangg 2 is opening attraction of Mukta Arts’ multiplex in Gulbarga
MUMBAI: After four screens in Vadodara and an equal number of screens in Ahmedabad, the third multiplex of Mukta Arts Limited successfully began its operations at Gulbarga under brand name Mukta A2 Cinemas with Dabangg-2, Sarocharu (Telugu) and Yaare Kugadali (Kannada) as its opening attractions.
Located at the heart of the city, the three screens multiplex has 1252 seats and has a 2K Digital with 3D projection system which is first of its kind in Gulbarga. It also boasts of hi-tech Dolby Digital surround sound.
Subhash Ghai said, "I am happy the way our company Mukta Arts is heading faster in exhibition Division too along with our production house this year and was more happy when my friend‘s Salman khan biggest blockbuster ‘DABBANGG 2‘ opened its release with our new multiplex at beautiful city like Gulbarga."
After Gulbarga, Mukta Arts Limited is all set to launch multiplexes at Vishakhapatnam, Sangli, Raipur, Aurangabad and Bhopal shortly. Negotiations are also going on for locations such as Mumbai, Thane, Panvel, Gurgaon among others. This will add around 30 screens to the existing 15 screens.
The above multiplexes are in addition to around 170 theatres (approx. 425 screens) across the country.
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.
