Hindi
Eros Now to offer digitised Bollywood film content
NEW DELHI: Eros International Media Ltd (EIML) has announced the beta-launch of its dedicated online entertainment service, “Eros Now”.
As an Eros International brand, Eros Now will ultimately provide access to Eros‘ Bollywood film library as well as music videos, audio tracks and original programming.
With immediate effect, Eros Now represents the Group’s overall digital brand with all digital content branded as such across the Group’s website, YouTube and Twitter pages and the company’s entertainment application.
The service will cater for both premium and standard users. All movies are part of the subscription service, ‘Eros Now Premium’, whilst all remaining content can be accessed for free and is supported by advertisements.
The main website, www.erosnow.com, will be available globally with users able to purchase an Eros Now premium subscription.
Eros’ new offering follows the completion of digitisation of a majority of the company‘s film library.
Speaking on the launch of the online entertainment service, Eros Digital CEO Ricky Ghai said, “We believe we are on the threshold of a digital transformation and our significant digitised content library enables us to deliver optimum customer experiences across media spaces. Eros Now’s mission is to develop a service that engages a new digital generation of South Asian’s globally – when, where and how they want. We aspire to be the leading South Asian digital brand of choice for consumers, advertisers and global media partners”.
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.
