Hindi
Gemini acquires the Hindi remake rights of Telugu film Arundhati
MUMBAI: Gemini Film Circuit and Vidhu Vinod Chopra plan to make a remake of the Telugu film Arundhati.
The producer of the original film, Shyam Prasad Reddy, has sold the Hindi remake rights of Arundhati to Gemini.
Said Reddy, “We have indeed sold the rights of Arundhati to Gemini Film Circuit for the Hindi remake. This is a period film with a socio-fantasy backdrop and Anushka‘s performance as Jejamma won her accolades from critics and viewers alike,”
Arundhati, who belonged to the Gadwal samsthanam, is known for her bravery in saving the Samstanam by killing Pasupathi, an evildoer who creates ruckus in that place. She is praised as Jejemma (named after the famous Goddess in that area). But the spirit of Pasupathi haunts that place. Another girl is born in the same lineage after three generations and she is named as Arundhati. The spirit of Pasupati is after Arundhati to take revenge. The rest of the story is all about how Arundhati puts an end to the evil spirit of Pasupathi.
The makers have zeroed in Kareena Kapoor to play the role of Jejamma. It is said that once the lead actress and the director is finalised, the makers will announce the rest of the details.
Hindi films produced by Vidhu Vinod Chopra have often been remade in Telugu by Gemini Film Circuit, the most recent being the Tamil and Telugu remake of the Aaamir Khan superhit ,3 Idiots.
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.
