Movies
ITC Kitchens of India to feature on Inox’s menu
Mumbai: Multiplex chain Inox Leisure Ltd on Wednesday announced its partnership with ITC Ltd’s Ready-to-Eat gourmet brand Kitchens of India to introduce a redefined, innovative F&B experience across all multiplexes of Inox in India.
With this partnership, Inox aims to add a new experience in the cinema halls through a trusted range of 100 per cent natural, Indian gastronomical delights. The new additions to the menu will provide more options to Inox customers, whether ordering at cinemas or from the comfort of their homes through food-ordering apps, said the statement.
Effective 29 September, customers across the country can have access to authentic Indian cuisine including Vegetable Pulao, Hyderabadi Vegetable Biryani, Dal Makhani, Rajma Masala, Pindi Chana and Steamed Basmati Rice as part of the service, it added.
“With the addition of Kitchens of India range we are expanding the choices for our patrons by offering an aromatic and flavourful dining experience with their loved ones while watching the movie,” said Inox Leisure Ltd vice president food & beverages operations Dinesh Hariharan. “Consumers will greatly benefit from this collaboration by receiving an array of authentic local culinary delights across the country, served in premium spill and leak proof packaging. This collaboration is a critical stepping stone in our endeavors to strengthen Inox’s F&B service brand as well as our bond with our patrons, by offering them newer preferred choices.”
Inox’s new F&B roadmap also includes introducing new processes and innovations including making their food available on online food ordering platforms Swiggy and Zomato. Recently, Inox became the first cinema chain in India to get listed on the table reservation and food discovery platform EazyDiner. Inox sells food under three brands – Café Unwind, Insignia and Delights. Intending to extend the hospitality to new audiences, Inox plans to position these into full-service restaurant brands to target non-cinema consumers.
“Through this partnership with Inox, Kitchens of India will aim to help redefine and shape a new horizon of cinema and food experience for movie-goers,” said ITC Ltd VP of marketing services (foods division) Shuvadip Banerjee. “As citizens gradually resume out-of-home leisure, entertainment experiences and activities, food safety and hygiene continue to be of paramount importance to consumers. With Kitchens of India featuring on Inox’s menu hereon, consumers will not only enjoy the benefits of convenient indulgences in regal Indian delicacies while enjoying their movie, but will do so with a safe, hygienic and a reliable brand.”
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.
