Hindi
Eros International signs co-production deal with Turkish co Pana Film
MUMBAI: Eros International Media, a global company in the Indian film entertainment industry, has announced two Indo-Turkish co-productions with Pana Film, a leading Turkish film studio owned by Turkish actor Necati Sasmaz, known for playing the lead role of Polat Alemdar in Turkey’s television series Kurtlar Vadisi (Valley of the Wolves).
With proposed actors from India and Turkey including Sasmaz, both films will be collaborative with shoot venues and crews in both countries and will be made bilingual. Original stories blending Indian and Turkish cultures will be conceptualised and developed by Eros’ in-house writers along with top Turkish writers.
Eros International chairman Kishore Lulla said, “We are honored to associate with a company such as Pana Film. Following our Indo-China joint production initiatives, we continue to expand the scope of Indian films internationally with our exciting Turkish collaboration. With our similar cultures, we want to tell stories with a mainstream appeal that transcend language and geographical boundaries. We hope our Indo-Turkish productions will pave the way to open one of the significant regions in the world and reach out to fans across the two countries and the MENA (Middle East to North Africa) regions.”
Sasmaz added, “Pana Film values this exciting partnership with Eros International. Our common goal is to build a cultural bridge between both regions. With our Indian collaboration, we aim to expand our presence and tell new stories that can bring Indian and Turkish audiences together.”
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.
