Hindi
Jolly LLB and Murder 3 to be screened at Shanghai Filmfest
NEW DELHI: Two Hindi films released in 2013 and made by Fox Star Studios – Subhash Kapoor‘s Jolly LLB and debutant filmmaker Vishesh Bhatt‘s Murder 3 will be featured at the 16th Shanghai International Film Festival (SIFF) in its international panorama section.
The Festival is being held from 16 to 23 June, and will open with Monsters University, the upcoming Pixar animated feature – the first time that the Shanghai festival will open with an animation film. The film will be shown in an English-language version, although it will be introduced on stage with its Chinese voice cast, headed by Xu Zheng and He Jiong. The animation, directed by Dan Scanlon (Cars), is a prequel to the original Monsters, Inc (2001). It will screen in Shanghai ahead of its global commercial release. The animation is set to open in the US mid-festival on 21 June.
The Indian films will be part of the spectrum section of the international panorama section which also includes- Official Selection, Tribute to Masters, View China and Global Village.
China‘s largest and one of Asia‘s biggest film festivals on the international circuit, the current edition of SIFF is expected to cater to more than 200,000 Chinese movie lovers apart from international visitors from across the globe.
Fox Star CEO Vijay Singh said: "We are mighty pleased to get an invitation from the Shanghai
International Film Festival. Jolly LLB and Murder 3 are films that we are proud of and they are also representative of our commitment towards creating diverse and high content cinema- which while being massy and entertaining also pushes the envelope. For us, it‘s an honour that in the 100th year of Indian cinema, we have got a chance to showcase different strands of our cinema at a global platform.
The Shanghai event will also show a series of sixteen animated Pixar shorts and the 3-D re-release of Finding Nemo (2003).
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.
