Movies
Inox Leisure sees best quarterly performance in Q1 FY23; revenue up by 19 per cent
Mumbai: Inox Leisure on Wednesday announced its first quarter results for financial year 2023. The company reported its best quarterly performance with revenue at Rs 589 crore up by 19 per cent year-on-year (YoY). It reported earnings before interest, tax, depreciation and amortisation (EBIDTA) at Rs 130 crore up by 41 per cent YoY and profit after tax (PAT) of Rs 74 crore soar by 80 per cent YoY.
The company’s average ticket price (ATP) peaked at Rs 229 up by 16 per cent YoY and spends per head (SPH) stood at Rs 96 up by 19 per cent YoY.
Inox reported its highest food and beverage (F&B) revenue at Rs 164 crore. It added three new properties and 17 screens during the quarter. The company also rolled out a merchandise business so fans can buy products from their favourite super hero or movie franchises.
“After facing a severe impact on business due to the pandemic in the last two years, the company reported its best quarterly performance across majority metrics on the back of tent poles that resonated with Indian audience, duly complemented by their huge pent-up appetite,” said the statement.
The April-May-June quarter saw the release of blockbusters like “RRR”, “KGF: Chapter 2”, “Vikram”, “Bhool Bhulaiya 2” and “Doctor Strange In The Multiverse of Madness” resulting in footfall of upto 18.4 million guests in Inox properties.
Inox expects great turnaround in the business going forward with the content line-up in the upcoming quarter with releases like “Laal Singh Chaddha”, “Raksha Bandhan”, “Liger”, “Brahmastra” and “Vikram Vedha”.
Inox Group director Siddharth Jain said, “During the entire stretch of the pandemic, something which kept us hold the fort, was the belief in ourselves, our passionate moviegoers, our stakeholders and our teams. From enabling us to see through the pandemic, to charting our path out of it, this belief has driven us towards this historical & miraculous performance in Q1.”
He further added, “While our best-ever quarter marks a moment of rejoice, we will also ensure that it keeps inspiring us to raise the bar, while maintaining a strong focus on customer-centricity, innovativeness and profitability. We are committed to stay ahead of the curve, and keep delighting our stakeholders with such magical performances. We could not have asked for a bigger celebration on completion of 20 glorious years of our company’s operations.”
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.
