Hindi
Indian film fest in Melbourne to be competitive from this year
NEW DELHI: The Indian Film Festival of Melbourne (IFFM) is becoming a competitive festival with international competition in 2014.
The festival, for which actor Vidya Balan is the brand ambassador, is scheduled from 1 to 11 May.
The inaugural Indian Film Festival Awards (IFF Awards) will honour films in five categories: Best Film, Best Performance, Best Director, Best Independent Film and the People’s Choice Award.
A select number of narrative feature films will be invited into competition. The films will be judged by an International Jury of prominent Indian and Australian film industry figures from a wide range of backgrounds.
The stellar list includes award-winning Australian director Phillip Noyce (Rabbit Proof Fence, Dead Calm, The Quiet American); world renowned Australian film editor Jill Bilcock (Strictly Ballroom, Elizabeth, Moulin Rouge, Red Dog and Shekhar Kapur’s upcoming Paani) and 2013 Gold Jury member for the Mumbai Film Festival and celebrated filmmaker Raju Hirani (Munnabhai MBBS , Lage rahoo Munna Bhaiand 3 Idiots ) Indian actress, producer and television presenter Simi Garewal; film critic Rajeev Masand and Indian actress, director, writer and producer Suhasini Maniratnam. Winners of the Indian Film Festival of Melbourne Awards announced at the Festival.
Festival Director Mitu Bhowmick-Lange said in a release from Melbourne, “We are thrilled to announce the inaugural Indian Film Festival of Melbourne Awards. The Awards will build the festival’s reputation as an important international showcase for contemporary Indian cinema.”
Balan was a 2013 Cannes Jury Member and in January was awarded the Padma Shri, the fourth-highest civilian award given by the Indian government. Balan will be in Melbourne to launch the festival programme on March 28.
IFFM continues to offer a window into the future of filmmaking. The Western Union Short Film Competition is now open to filmmakers from India and Australia.
The Indian Film Festival of Melbourne was established in 2012 as an initiative of the Victorian Coalition Government and presents a broad, curated program of more than thirty films, ranging from Bollywood to art house and the sub continent, as well as master classes. In 2014, the festival presents a world-class program of films across three Melbourne cinemas.
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.
