Hindi
Eros to co-produce two Tamil movies with RV Films
MUMBAI: In a move to expand its presence in the South via content driven cinema, Eros International has joined hands with RV Films to co-produce two Tamil movies namely – Perai Thedia Natkal and Enkitta Mothathe.
Eros, which plans to release the movies by the end of the year, will also be looking at launching new talent in these ventures.
Having previously worked as a writer and creative associate of the critically acclaimed Vidiyum Munn and co-director of the forthcoming Yagavarayinum Naa Kakka, Abraham Prabhu will make his directorial debut with Perai Thedia Natkal, a romantic drama starring Ashok Selvan. The remaining cast of the film would be announced soon.
On the other hand, Enkitta Mothanthe is an action drama starring Natarajan Subramaniyam Rajaji, Vijay Murugan and Radha Ravi and will be directed by Ramu Chellappa, who has previously worked as an assistant director on projects such as Kedi Billa Killadi Renga, Mayakkam Enna and Pasanga amongst others.
With Enkitta Mothanthe, Chellappa makes his debut as director amassing his nine years of experience as an AD. The film was flagged off on 22 May, 2015 in the presence of the entire cast at Velco theatre in Anakaputhur.
Eros International SVP – business development Sagar Sadhwani said, “These films are in line with our strategy to promote rightly priced, strong content driven films. With plans to expand in the southern markets, apart from our marquee releases, we want to back projects with fresh concepts and scripts that help recognize promising talent in the industry. By supporting such cinema, we want to encourage emerging talent to align with our vision of presenting quality cinema.”
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.
