Hindi
IMAX’s ‘KGF: Chapter 2’ poster has a rugged Rocky in fierce look
Mumbai: IMAX has released an exclusive poster for the most awaited sequel of Kannada period action thriller “KGF: Chapter 2.” The special edition poster features a determined Rocky, the film’s protagonist, with an even fiercer look with weapons in both hands with chaos and goons in the background.
The Prashanth Neel directorial will be released across IMAX screens in Kannada, Telugu, and Hindi, on 14 April.
Produced by Vijay Kiragandur under Hombale Films, “KGF: Chapter 2” is a fictional story based on the happenings in the blood-soaked land of Kolar Gold Fields in Karnataka.
IMAX VP of international development and distribution Christopher Tillman said IMAX is known for offering audiences a larger-than-life experience and it is only apt for them to release an action-packed film like “KGF: Chapter 2.” “We are sure that the IMAX experience will offer audiences an opportunity to live and be a part of this captivating film. India is home to strong and diverse storytelling and talent and the release of KGF: Chapter 2 is in line with our commitment to present the most visually stunning and emotionally compelling stories in IMAX,” he added.
Hombale Films partner and co-founder Chaluve Gowda is also delighted on releasing this action film in IMAX. He said, “We are elated and proud to announce that KGF: Chapter 2 is going to be the first Kannada film to be showcased on IMAX.”
Speaking on their partnership with IMAX, he added, “This partnership is in line with our vision to offer entertainment with the best available technology to our fans. The response of the fans has been incredible and the excitement levels have reached fever pitch.”
Gowda shared that Hombale films have also tried to expand their distribution network and this augurs well for them as they are confident that this movie will be a historic one. “Our pursuit for excellence has resulted in films that have been critically acclaimed while enjoying great commercial success. Our association with IMAX is in line with our thoughts and we hope that with this association we are able to bring a world-class offering for our fans worldwide. We will continue to work closely with the team at IMAX to strengthen our partnership in the years to come,” he concluded.
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.
