Hindi
Endemol India partners with Fox Star Studios on a movie
MUMBAI: Endemol India has collaborated with Fox Star Studios for an emotional thriller, Traffic. This marks the foray of Endemol into the Hindi film industry and will be produced under the banner “Eyedentity Motion Pictures” – the film arm of Endemol India.
Traffic, the Hindi adaptation of the critically acclaimed Malayalam blockbuster will release on 7 March, 2014. Based on a true life incident the film marks the coming together of an ensemble cast of Manoj Bajpai and Jimmy Shergill in the lead roles along with Bengali superstar Prosenjit, Parambrata (of Kaahani fame), Divya Dutta, Kitu Gidwani and Sachin Khedekar playing pivotal roles. The film will also see the debut of talented young actor Amol Parasher and Vishal Singh in critical roles.
Endemol India MD and CEO Deepak Dhar said, “With Traffic, Endemol enters the Hindi film sphere and we are fortunate to have partnered with Fox Star Studios for such an incredible script that involves a diverse mix of characters caught in an unlikely situation. Brought to life by a brilliant screenplay that pits together all the characters in a race against time, the incredible casting is bound to keep the audiences hooked till the end.”
Directed by national award winning film maker Rajesh Pillai, who also directed the original in Malayalam, the movie showcases a high voltage drama and a battle against time when stakes run high and life is in danger. What sets Traffic apart from other films is the fact that as an emotional thriller, it will also introduce the audiences to an altogether new genre of entertainment.
Traffic has been adapted in Hindi by Suresh Nair with music by Mithoon.
Fox Star Studios CEO Vijay Singh added, “We are excited to have partnered with Endemol India as they debut in the Indian film industry. Traffic comes with tremendous credentials – National award winning director plus commercial & critical success in Malayalam – it promises to be an emotionally thrilling experience! At Fox Star Studios, our endeavour has been to support path breaking entertaining cinema. We believe in the story of Traffic and that it must be told to a wide audience. Audiences today are seeking new and distinctive content and we continue to strive to deliver films that capture the imagination. The film is the first up on our slate for 2014 that will feature mega productions, massy entertainers and clutter breaking films.”
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.
