Hindi
Go Goa Gone rakes in Rs 13.2 cr
MUMBAI: India‘s first ‘zom-com‘ Go Goa Gone has been liked by a limited few at metro multiplexes. A meandering second half has affected the film to some extent. The collections did not show much variation in the opening three days and the film collected Rs 13.2 crore for first three days.
Gippi failed to finds its audience, collected about Rs 2.25 crore for the first weekend.
Shootout At Wadala remained average through its first week with its best performance coming from the Maharashtra belt. The film collected about Rs 34.8 crore in its first week.
Bombay Talkies remained an experiment with scant commercial value despite four directors putting their mite into its making. The film has collected Rs 5.4 crore in its first week.
Chhota Bheem And The Throne Of Bali had limited box office with figures of Rs 2.5 crore in its first week.
Aashuqui2 established itself as a sure shot hit by adding Rs 17.5 crore in its 2nd week and taking its two week total to Rs 52.05 crore.
Chashme Baddoor added Rs 10 lakh in its fifth week to take its five week business to Rs 42.3 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.
