Hindi
INOX revenue up by 12% in FY2020 despite Covid2019 impact
MUMBAI: INOX Leisure Ltd reported financials for the fourth quarter and the financial year ending 31 March 2020. While Covid2019 eroded the last quarter, the company claims to have made a substantial increase in its yearly performance.
EBITDA for Q4 2020 stands at Rs 40 crore, quarterly loss after tax was at Rs 2 crore. Total revenue for Q4 is Rs 376 crore.
On the other hand, for FY2020, it saw revenue up by 12 per cent to Rs 1915 crore, EBIDTA growth by seven per cent to touch Rs 347 crore, PAT growth at six per cent to hit Rs 141 crore. Additionally, the company release says that it saw a footfall of 66 million this year. The spend per head showed eight per cent growth annually and stood at Rs 80.
The Covid2019 pandemic impacted its ad revenue. The recessionary slowdown and Covid-induced fear psychosis towards the end of the FY led to a flat trajectory with just one per cent growth, said the company.
INOX Group director Siddharth Jain said, “Despite the advent of Covid2019, we managed to continue our uninterrupted streak of revenue growth. The advent of Covid2019 has left a serious mark on our fourth quarter performance and will remain a cause of concern in the subsequent months as well. With a clear priority on safety and well-being of our guests as well as our employees, we are preparing ourselves with the wherewithal which would help us see through this phase. Our SOPs have been tailored to offer a safe, reliable and a seamless movie watching experience once we resume operations. We are confident that the signature INOX experience, which has become synonymous to movie watching in our country, will remain intact, and will continue to delight our patrons on the other side of Covid2019. We are banking on our inherent passion and our robust balance sheet, which would help us emerge stronger and faster from this pandemic situation and deliver a remarkable turnaround, delighting all our stakeholders.”
*Excludes impact of Ind AS 116
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.
