Hindi
Dismal weekend at the Box Office
MUMBAI: The past weekend has proved to be dismal for the box office with three releases, which all vie for the worst performer tag. Khamoshiyan turns out to be a drab affair with the Bhatt touch visible only in its soundtrack. The film got poor word of mouth and managed to collect just Rs 5.75 crore in its opening weekend.
Rahashya may be based on a real life, well documented double murder case, but gets just about as much attention from moviegoers as yesterday’s headline. And, this story has become stale by all standards. The film opened to a very poor response with no hope of catching up despite being a well-made film. The film had a poor opening weekend with about Rs 20 lakh.
Hawaizaada, a biopic of a maverick self-styled scientist from Maharashtra, starring Ayushmann Khurrana, from which the trade had some hope, comes a cropper. The film comes across as badly scripted and directed one lacking consistency and having no sense of length. A boring fare, the film suffered further after being slaughtered by critics as well as on social media. The poor collections reflect this as the film could manage mere Rs 1.8 crore over its first weekend. It failed to touch Rs 1 crore figure on any of the three days over the weekend.
Baby has not lived up to the hype created in the media before release. The film had way too much similarity in story and substance with a couple of recent films but was worse than them. The film is too verbose with plans of action rather than action itself which is what people want to see from a spy movie. The film collected Rs 52.1 crore in its first week. With three very poor oppositions in second week, the film gets a chance to reduce its losses.
I (dubbed) has collected Rs 1.2 crore in its second week to take its two week total to 11.3 crore. On the other hand, Dolly Ki Doli is a loser facing rejection from day one. The film manages to end its first week with figures of Rs 11.9 crore. Alone adds Rs 2.25 crore in its second week to take its two week tally to Rs 19.5 crore.
PK nears the end of its run at the box office as the film adds Rs 1.3 crore in its sixth week to take its six week total to Rs 329.6 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.
