Hindi
‘Detective Byomkesh Bakshy!’ collects Rs 14.06 crore in opening weekend
MUMBAI: Yash Raj Films usually has a good experience with its small budget films and the studio’s one such film, Dum Laga Ke Haisha, has already established itself as a mini hit. These films also create a valuable repertoire for the studio.
However, its latest, Detective Byomkesh Bakshy! is not quite living up to expectations. The film did not make much of the Friday despite being a holiday. The collections remained stagnant on Saturday but showed some improvement on Sunday to close its opening weekend with a figure of Rs 14.06 crore.
Barkhaa rates as a total loss film barely managing to touch the Rs 1 crore mark in its first week.
Delhiwali Zaalim Girlfriend adds Rs 40 lakh in its second week to take its two week tally to Rs 4.1 crore.
Hunterrr collects Rs 2.9 crore in its second week to take its two week total to Rs 9.75 crore.
NH 10 maintains reasonably good collections in its third week in absence of any watchable opposition. The film collects Rs 3.15 crore in its third week to take its three week total to Rs 30.2 crore.
Dum Laga Ke Haisha has become a mini hit; the film has added Rs 1.9 crore in its fifth week to take its total to Rs 29.97 crore. The sixth weekend took it past the Rs 30 crore mark by adding Rs 17 lakh for three days.
On the other hand, Dirty Politics has added approximately Rs 5 lakh in its second week to take its two week total to Rs 6.11 crore.
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.
