Hindi
Homage to Mani Kaul on his first death anniversary
NEW DELHI: A total of 13 shorts and features are to be screened in Delhi and Mumbai to pay homage to the late filmmaker Mani Kaul on his first death anniversary on 6 July.
While the programme in Mumbai will run over two days, the one in Delhi will only have three films. The homage has been planned by the Films Division at their venues in the two metros.
In Mumbai, renowned filmmaker Jahnu Barua will inaugurate the two-day festival and there will be a keynote address by Udayan Vajpeyi.
Piyush Shah, Ustad Bahauddin Dagar, Ms Lalitha Krishna, Sharmistha Mohanty, and Siddharth Sinha will share their reminiscences about the master filmmaker. Films Division Director General V S Kundu will also speak on the occasion.
In Delhi, Ashok Vajpeyi, Gattoo Kaul, Rita Kaul, Raman Chawla, and Gurpal Singh will pay their homage.
The documentaries, Siddheshwari (1989); Arrival (1979) and Dhrupad, will be screened in both Delhi and Mumbai.
Other films to be screened in Mumbai include the features Uski Roti (1970), Mati Manas (1985), and Duvidha (1975). The shorts and documentaries are: Homage to the Teacher (1967), Forms & Designs (1968), During and after Air-raid (1970), The Indian Woman (1975), The Nomad Puppeteer (1974), Chitrakathi (1978), and Before my Eyes (1989).
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.
