Hindi
Happy New Year’s poster out, trends on Twitter
MUMBAI: The year ended with a promise of a Happy New Year ahead. And literally so, the first poster of Red Chillies Entertainments Pvt Ltd’s next film directed by Farah Khan, Happy New Year (HNY) launched on 2 January. The poster was first sent to all fans and fan clubs on the social media sites as a gratification for their support. Interestingly, the hashtag #HNYposter started trending on Twitter soon after the poster was released.
The film stars Deepika Padukone, Boman Irani, Shah Rukh Khan, Abhishek Bachchan, Sonu Sood and Vivaan Shah in lead roles. The film that will release during Diwali is under-production and has an interesting genre that of a Musical Heist.
Farah said in a release, “My dream project Happy New Year takes another step towards realisation with the first poster being launched today. I believe in cinema that entertains and with a dream cast like this we hope it will be the most entertaining film of the year. Shah Rukh and I have had a dream partnership always and with this our third collaboration we hope it will be a very Happy New Year indeed!”
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The film has taken a step ahead in promoting the film by tying up with Digigraph that is a preferred technology/App partner of Twitter based in Los Angeles. Digigraph, on special request from Twitter India agreed to undertake this first of its kind initiative for any film ever across the globe. Any Twitter user who is a fan of the movie or the cast as well as the director has received a personalised poster signed by the artist of their choice addressed specifically to the fan in his name in the artist’s own handwriting as well as language delivered to each fan on his/her twitter handle.
Digigraph.me co-founder & COO Tom Smart said, “We are humbled and honoured to help renowned Indian film studio, Red Chillies Entertainments Pvt. Ltd. in building awareness for the release of the poster of their new film, HNY fans from around the world will now be able to personally take part in the moment by requesting, claiming and sharing personalised, and collectable digital photos, digitally autographed by the stars in the movie and delivered instantly into Twitter newsfeeds and other social media networks.”
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.
