Hindi
‘Ludo’ makers trademark the film title, create history
MUMBAI: Bengali cinema’s controversial duo, Nikon and Q are ready with their latest film – Ludo. A film entering the unchartered territory of fantasy thrillers, the movie is bound to both – shock and leave audiences awestruck – with its brand new storytelling.
The makers of the movie have gone ahead and applied for registering the film’s title Ludo as a trademark, as an entertainment idea after sensing its strong potential of building a franchise around the movie/concept.
Idyabooster co-producer Nandini Mansinghka says, “To acquire/own a film title, one needs to register it with a film association, in this case we have done with EIMPA (Eastern Indian Motion Pictures Association). But that’s not enough in case of a dispute. If one trademarks the title, which is registering it with the government, it protects our interest and refrain others in the country from using it (in that category) as a film name.”
The film features the sensuous Rii Sen, Joyraj, Subholina, Ronodeep, Ananya and Soumendra. Q and Nikon are already looking forward to a sequel, especially after the strong buzz the film has created at Cannes Festival this year.
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.
