Hindi
Filmmaker duo Raj Nidimoru & Krishna DK collaborate with Netflix for creative partnership
Mumbai: Filmmaker duo Raj Nidimoru & Krishna DK on Thursday announced their collaboration with Netflix, in a multi-year creative partnership. Under their D2R Films banner, they will develop and produce their upcoming projects for Netflix.
The filmmakers will also be the show-runners and directors of Netflix’s upcoming comedy crime thriller series, “Guns & Gulaabs,” a story of love and innocence in a world of crime, a nostalgic tale of all kinds of firsts, from first love to first kill.
With an impressive slate of cult films, blockbusters, and premium shows, Raj & DK are undoubtedly one of India’s finest and most successful creators. The dynamic duo have mastered distinct genre mash-ups with their quirky style, creating extraordinary stories that have won both critical acclaim and commercial success.
The duo also produced one of the most critically acclaimed and loved films of last year, the Telugu film “Cinema Bandi,” currently streaming on Netflix.
Sharing details about the partnership, Netflix India VP-content Monika Shergill said, “Raj & DK are one of the most original creative voices in the country. Along with their unique and ingenious storytelling style, they are also a powerhouse studio. We are excited to continue our relationship with them for a multi-year creative partnership that will bring superlative entertainment to Netflix members around the world.”
Raj & DK added, “Netflix is a pioneer in the streaming space backed by its unstinting, passionate support for filmmaking and filmmakers. We are looking forward to creating big, unique stories and challenging ourselves to push the storytelling into exciting and fresh spaces.”
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.
