Hindi
Endemol ropes in Sekhar Kammula for Kahaani remake in Tamil, Telugu
MUMBAI: Endemol India acquired the remake rights of Sujoy Ghosh’s Kahaani in Tamil and Telugu about six months ago.
Endemol India and Select Media Holdings Pvt. Ltd have roped in critically acclaimed filmmaker Sekhar Kammula to direct the remake of Kahaani in the two south Indian languages.
Sekhar is widely known for his cinematic excellence that culminates into path breaking films. A rare combination of aesthetic values and commercial success, his films capture the essence of the subject beautifully. From his debut film Dollar Dreams to his latest movie Life is Beautiful, this maverick director has been a recipient of awards and accolades that range from the National Film Awards to the Nandi Awards.
Said Sekhar, “Kahaani is a brilliant work of cinema and I am delighted to be a part of this recreation along with Endemol India and Moving Pictures. It is a character driven script and the characterization will have local appeal. Our adaptation will retain the thrill and essence of the original, but will also add a unique dimension to the film.”
Producers of popular shows like Bigg Boss, Fear Factor, Savdhaan India and The Great Indian Laughter Challenge, Endemol India has tied up with Moving Pictures – the film production arm of Select Media Holdings Pvt. Ltd. to take things forward.
Elaborating further, Deepak Dhar, CEO – Endemol India said, "We feel that Kahaani is a great film to commence our film operations in the South. We are confident that Sekhar will deliver to our audiences’ expectations. He is popularly known for his coming-of-age brand of cinema and we are certain that this movie will add yet another feather to his hat.”
Currently both the production houses are in talks with a couple of renowned actors from South to essay the powerful characters in the film.
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.
