Hindi
Dhurandhar worldwide box office storms past Rs 1,200 crore, beats KGF 2
MUMBAI: Aditya Dhar’s Dhurandhar continues its box-office rampage, crossing the Rs 1,200 crore mark worldwide in just 31 days and sealing its place among the five highest-grossing Indian films of all time.
The Ranveer Singh-led spy thriller is only the sixth Indian film to breach the Rs 1,200 crore milestone and has now overtaken Yash’s KGF Chapter 2 to rank fifth on the all-time global charts.
At the domestic box office, Dhurandhar staged a strong fifth weekend recovery, adding over Rs 33 crore net across three days. Its India tally now stands at Rs 772.25 crore net, translating to Rs 926.7 crore gross. While weekday collections are expected to soften, the film remains firmly entrenched as the country’s top grosser, comfortably outpacing new releases including Avatar: Fire and Ash, Ikkis and Tu Meri Main Tera Main Tera Tu Meri.
Overseas, the film has amassed $31 million so far and is tracking towards a top-10 all-time finish for Indian cinema abroad. The numbers are particularly striking given Dhurandhar’s absence from Middle Eastern markets following a ban, a setback estimated to have shaved at least $10 million off its international haul.
Even without that territory, the film’s worldwide gross has climbed to Rs 1,207 crore, underlining its status as one of the most dominant theatrical runs in recent 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.
