Hindi
Jannat 2 collects Rs 240.5 mn in opening weekend
MUMBAI: Jannat 2 took a good opening on Friday but the foul words in dialogues and generally indifferent word of mouth failed to better its opening day collections.
The film collected Rs 240.5 million over the weekend. However, the collections have started showing a marked drop on Monday.
The other Friday release, Fatso, remained ordinary at the box office.
Last week’s release, Tezz, has been rejected by audiences, despite the success of lead actor Ajay Devgn’s last film Singham. Looks like it is the Desi action with a cause that works, not the mindless Western kind.
Tezz has been poorer than most films starring a popular hero in the lead. It ended its first week with Rs 147 million, after adding a meagre Rs 29 million in four days.
Vicky Donor continued to do excellent business and collected Rs 117 million in its second week to take its total to Rs 259 million.
Hate Story’s sizzling scenes failed to lure and the film just about managed to stay afloat in second week with a collection of Rs 19 million, taking its total to Rs 130 million.
Housefull 2 contributed a reasonable Rs 47 million in its fourth week. Its total box office collections stood at Rs 1.15 billion.
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.
