Hindi
Fan has a reasonable opening, Ki & Ka still strong
MUMBAI: Fan had a reasonable opening though the viewers’ reports were not going in its favour. The public holiday on the occasion of Ram Navami on Friday and enhanced admission rates by as much as 20 to 25 per cent at many cinemas helped the film to put together Rs 19.2 crore on the first day.
The word of mouth being mixed, the collections showed a drop to the tune of nearly Rs 4 crore. On Sunday, the film did as little compared to Saturday to end its opening weekend with a total of Rs 52.35 crore. However, after bringing down the admission rates to normal from today, the film has been showing noticeable decline in footfalls.
Love Games failed to attract the audience with skin show as its main attraction. With poor face value and a rundown story, it falls further after a low opening weekend managing to add less than Rs 1 crore over its next four days of the week to show just Rs 3.9 crore for its first week.
Club Dancer fared miserably to make its first week also its last.
Jungle Book, with its combined versions, has done better than the lifetime box office of many takings of many midrange Hindi films. The film has been lapped up by all strata of audience and also drawing repeat audience. After an impressive weekend, Jungle Book remained rock steady through its first week to collect about Rs 74 crore. It is expected to continue its good run in the second week as well.
Ki & Ka has maintained good collections in its second week. It collected Rs 11.8 crore to take its two week tally to Rs 49.25 crore.
Kapoor & Sons has collected Rs 1.6 crore in its fourth week to take its four week total to Rs 71.9 crore.
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.
