Hindi
MIFF 2014 opens with Anand Patwardhan getting V Shantaram Life Time Achievement Award
NEW DELHI: The week-long festival celebrating the best of documentary films – the Mumbai International Film Festival for short, documentary and animation films has commenced in Mumbai with a rare insight into the life during pre-independence India, and presentation of the V Shantaram Award.
Maharashtra Governor K N Sankaranarayanan who inaugurated the Festival appealed to filmmakers to lend their voice to raise the problems of disadvantaged through their films.
Information and Broadcasting Minister Bimal Julka, Festival Director V S Kundu who is Director-General of Films Division, and members of the national & international jury and several prominent filmmakers were present.
The veteran filmmaker on social issues Anand Patwardhan who has often raised contoversies through his films was honoured with the V Shantaram Life Time Achievement Award for his contribution to promotion of documentary films movement in India.
Patwardhan is an acclaimed documentary filmmaker known for his activism through social action documentaries on topics such as corruption, slum dwellers, nuclear arms race, citizen activism and communalism. His notable films include Bombay: Our City (Hamara Sahar) (1985), In the Name of God (Ram ke Nam) (1992), Father, Son and Holy War (Pitra, Putra aur Dharmayuddha) (1995), War and Peace (Jang aur Aman) (2002) and Jai Bhim Comrade (2011), which have won national and International awards. Jai Bhim Comrade had won the Best Film award at MIFF 2012.
In his acceptance speech, Patwardhan said, “My feelings are mixed. My films speak about the reality of the disadvantaged. They have raised several socially relevant issues, but the impact has been marginal. The issues I highlighted through my films sine 1980s continue to exist – rampant demolition of slums and uprooting of poor, communal violence, increasing crime against women, atrocities against the downtrodden, nuclear arms race etc, continue to remain as serious challenges”.
The V Shantaram Award carries a cash prize of Rs 5 lakh and a citation.
The opening film – the 86-minute package curated by the British Film Institute National Archive Before Midnight: a Portrait of India on Film, 1899-1947, is a collection of home movies, documentaries , dramas and comedies exploring how life was lived in British India. It has over 100 short films covering topics ranging from temples to tigers.
The Maharajah of Jodhpur’s home movies provide an epic portrait of princely power in the 1930s and 40s, whilst those of the Gorrie family offer an intimate picture of family life and their expeditions into the Himalaya. The collection also features the films and TV dramas that helped to shape the mythologies of British India including The Drum (1938), The North West Frontier (1959) and The Far Pavilions (1984).
Another highlight of the opening ceremony was the screening of short film titled ‘Checkmate BB’ produced by Mumbai School kids. Seventeen kids from 13 schools were trained to conceptualise, direct, shoot and edit a film of their own at a workshop conducted by by the Linnep Media and CineKids, Amsterdam, as part of the fortnight-long Linnep Kids Film Festival, that was held in 15 schools of Mumbai, Navi Mumbai and Thane, as a run up to MIFF 2014.
The Indian Navy’s ceremonial Naval band and Bangalore’s noted music group Mystic Vibes also enthralled the audience at the inaugural ceremony.
The 13th MIFF being held from 3 Feb to 9 Feb at NCPA (Tata Centre) at Nariman Point received over 790 entries including 205 entries in the international section. This biennial film festival organised by the Films Division of the Information and Broadcasting Ministry is held in collaboration with the state Government of Maharashtra and the Indian Documentary Producers Association.
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.
