Hindi
Lootera does fairly well, even as Policegiri struggles
MUMBAI: The Ranveer Singh and Sonakshi Sinha love story Lootera has had a fair weekend thanks to Mumbai and Delhi multiplex collections. The film has collected Rs 15.55 crore for the opening weekend. This is Vikramaditya Motwane‘s second directorial venture, following the critically acclaimed Udaan (2010).
Policegiri which stars Sanjay Dutt hasn‘t found much favour either at single screens, where it was expected to do better, or at multiplexes. The film has managed to collect about Rs 8.5 crore for its first weekend. Dutt‘s next release this year would be the Zanjeer remake where he would be reprising the memorable role of Sher Khan previously essayed by Pran in the 1973 original.
The Emraan Hashmi and Vidya Balan starrer Ghanchakkar has crashed further after its average opening weekend, with a poor script and execution, the film has not added much over its next four days and ended its first week with figures of Rs 27.3 crore.
Raanjhanaa, which marked the debut of the south superstar Dhanush of Kolavari Di fame, and met with mixed response due to its second half remained steady in its second week and has collected Rs 17.1 crore, thereby taking its two week total to Rs 49.3 crore. The distributors‘ smaller circuits were the first to earn profits on the film.
Fukrey has managed to add another Rs 4.5 crore in its third week taking its three week tally to Rs 32.7 crore.
Yeh Jawani Hai Deewani has collected Rs 1.8 crore in its fifth week. The film‘s five week total now stands at Rs 182.05 crore. The Ranbir Kapoor and Deepika Padukone starrer has done exceedingly well and now entering its sixth week will slowly phase out with some big releases lined up in the coming weeks.
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.
