Hindi
Eros Q2 net skids 41.5% to Rs 266.7 mn
MUMBAI: Eros International Media, the pure play movie production company, has posted a consolidated second-quarter net profit of Rs 266.7 million, down 41.5 per cent from Rs 455.9 million it had posted in the corresponding quarter of the previous fiscal.
The company‘s total income fell 6 per cent to Rs 1.75 billion for the three-month period ended September (from Rs 1.87 billion).
Eros‘ earnings before interest and taxes (EBIT) for the quarter was at Rs 407.4 million, down 27.7 per cent from Rs 563.6 million in the earlier year.
Ebit margins stood at Rs 23.2 per cent, compared to Rs 30.2 million a year ago.
During the first half of the current fiscal, consolidated net profit fell 16.9 per cent to Rs 500 million, as against Rs 601.4 million in the first half of FY‘11. Total income was at Rs 3.38 billion compared to Rs 3.13 billion in the earlier year.
In the first half, Eros has released 42 films of which majority were in Tamil. Among the Hindi films, the company released Ready, Chalo Dilli, Zindagi Na Milegi Dobara, Murder 2 and Mausam.
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.
