Hindi
DreamWorks & Technicolor’s VoD platform to offer Bollywood fare
MUMBAI: DreamWorks Animation and Technicolor’s video on demand (VOD) JV company M-GO has launched its Bollywood collection comprising a slate of more than two dozen films.
The library of titles, presented in association with Indian film distributor FilmKaravan, features the 2015 release Ek Paheli Leela, starring Sunny Leone.
The reincarnation-themed Ek Paheli Leela, produced by T-Series and distributed by Saavn in North America, is part of an initial assortment of more than two dozen feature Bollywood titles now offered on M-GO, with some available in 4K.
“I am so excited that my fans will now be able to watch Ek Paheli Leela on their favorite digital platforms. I believe in the power of the digital ecosystem and am thrilled that my film will now be available for my fans to watch when they want,” said Leone.
T-Series president Neeraj Kalyan added, “We are proud to be a part of this digital release for our latest title, Ek Paheli Leela on M-GO. Sunny has done an exceptional job and we are glad that this film is the centerpiece of the Indian film category.”
“This partnership with FilmKaravan represents our first concentrated effort to bring even greater variety to our selection of international, foreign language, and independent content. In the increasingly global film community, Bollywood content is incredibly popular with movie fans all over the world, including here in the US,” said M-GO senior vice president of content Cameron Douglas.
“FilmKaravan’s goal is to bring the best of Indian content produced by big studios like Yash Raj Films, Dharma Productions, Excel Entertainment, T-Series and Rajshri, among others, to platforms committed to presenting eclectic programming to their audiences. It gives us great pleasure in partnering with M-GO, one of the fastest growing VOD services, to reach their audiences through aggressive positioning and passionate marketing plans,” said FilmKaravan managing partner Pooja Kohli.
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.
