Hindi
Krrish 3 continues its strong run; others struggle to make a mark
MUMBAI: Sunny Deol’s action film, Singh Saab The Great is old wine in a plastic bottle. With so much use of Punjabi language, it could well have been a Punjabi film due to which it loses out on patronage in South and East India while limiting it in other parts. The film’s appeal is only limited to single screens. The movie collected Rs 14.2 crore for its opening weekend which is not very encouraging.
Gori Tere Pyar Mein – the second flick featuring Imran Khan and Kareena Kapoor Khan together – has failed to attract the audience from day one and failing to improve even on Saturday and Sunday. A poorly conceived and executed film, it draws neither youth nor the compulsive moviegoer. The film has managed a poor Rs 7.8 crore for its opening weekend.
Goliyon Ki Rasleela: Ram-Leela crossed one more hurdle in UP as there were objections to the film’s title by certain people following which a court had stopped its screening in the state of UP. There were no shows on Friday and Saturday (22 and 23 November) in UP. The producer gave the film a new title, G-K.R.R, for UP and availed of the Censor Certificate following which the screening resumed from Sunday (24 November) onwards. The film has collected Rs 69.7 crore for its first week.
Rajjo has proved to be a futile exercise with the film barley managing to collect Rs 1.65 crore in its first week.
Krrish 3 has added Rs 8.5 crore for its third week taking its three week total to Rs 171.8 crore.
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.
