Hindi
FFI decides to boycott the IFFI 2012 for being ignored at every stage
New Delhi: The Film Federation of India, the apex body of the film industry, has decided to boycott all activities of the International Film Festival of India in Goa in November to protest it being by-passed and not being called to any Steering and other committee meetings.
In fact, it was informed about the Industry Coordination Committee meeting as late as August-end by which time some major discussions that are normally taken at this meeting had already been taken by the Directorate of Film Festivals and IFFI Secretariat.
FFI at its annual general meeting late last week in Mumbai where members from all over India were present unanimously decided that the federation will not participate in any of the activities of IFFI.
FFI has always been an essential component of the Steering Committee and its members actively involved in various other committees and sub-committees such as theatre, technical, hospitality and others. But this has not happened in recent years and ‘FFI can only assume that either the committees have been discontinued or FFI has been kept out of them.‘
According to FFI President Vinod Lamba, ‘it is now learnt that DFF has already taken all major decisions without calling for any joint meeting, or holding any discussions with the FFI; or even informing FFI.‘
In fact, in 2011, the time-honoured tradition of the vote of thanks being delivered by the FFI President at the IFFI opening had been done away with at the level of the DFF ‘with no proper and timely information being conveyed formally to the Information & Broadcasting Ministry or FFI.‘
Lamba added, ‘While this callous misadventure may appear to have been nipped in the bud and status quo restored, the deliberate mishandling of affairs at the inauguration event itself conveyed a greater affront to the persona and position of the FFI President, prompting the Minister (Mrs Ambika Soni) herself to rush on stage to take corrective action.‘
The IFFI by its very tenets is a festival held jointly by the government and the Indian film industry, and FFI being the apex body of the industry ‘has been playing their part with total sincerity and efficiency.‘
However, the same cannot be said of the Directorate of Film Festivals which has been persistently neglecting and slighting the FFI, in all matters that were once decided jointly.
Talking to indiantelevision.com, Lamba added that despite an assurance of remedial action, it seems that the insensitiveness seems to have gathered strength; instead of involving the FFI and through it the industry from the early stages, it seems that the DFF/IFFI Secretariat is bent on sidelining the industry in the major decision making processes, reaching out to it only in times of dire need of correcting embarrassing foul ups. At the same time, he stressed that FFI has never shied away from providing assistance.
Expressing surprise at the decision, IFFI Director Shankar Mohan told indiantelevision.com that he had been in constant touch with the film industry and it was erroneous to say they had been kept out. There has been constant coordination with the FFI, the Film and Television Producers Guild, and the Confederation of Cine Employees.
He added that only two committees had been formed this year – the Steering Committee and a Technical Committee.
He said he had been personally trying for the last month to arrange a meeting of the Industry Coordination Committee, but had failed to get a response.
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.
