Hindi
Miraj Cinemas adds four multiplexes in 15 days, inches closer to ‘100’ plan
NEW DELHI: Miraj Cinemas has strengthened its position in Punjab, Gujarat and Delhi NCR by adding four multiplexes with 13 screens in a record time of just 15 days. With this addition, Miraj Cinemas has now secured 77 screens across India.
In Gujarat, Miraj Cinemas has two new multiplexes in Vadodra and three screens in Gandhidham and another four-screen property in Miraj Cine Pride Ahmedabad besides its existing seven-screen property at Miraj City Pulse.
The new multiplex of Miraj cinemas in Vadodra situated at SWC mall has 3D equipped four screens that boast of 728 plush seating capacities with 7.1 Dolby surround sound facility, 2k Projectors and recliner seats while its Ahmedabad property situated at Vitthal Plaza (New Naroda) and has three screens with a seating capacity of 372 along with silver screen and recliner seating facilities comprises with modern state-of-the art infrastructure.
In Delhi-NCR Miraj Cinemas today came out with its new 3-screen multiplex at Laxmi Plaza in Rajendra Nagar, Ghaziabad, where it has 3D equipped screens with seating capacity of 711 people with 7.1 Dolby digital sound systems. This new property in has come out in addition to the existing 2-screen multiplex in Chowdhry Mall, Ghaziabad and at 2-screen multiplex at Subhash Nagar in New Delhi.
In Punjab, Miraj Cinemas launched 3-screen multiplex situated at J’s EmiNent Mall complex in Hoshiyarpur. The new property has 2K technology projector and a silver screen for 3D movies. The multiplex is also equipped 7.1 dolby digital sound system with boasts plush seating capacities along with recliner seats.
Miraj MD Amit Sharma said, “We believe this is a milestone for us where Miraj Cinemas promised to provide quality movie watching experience to its patrons and wants to be geographically present throughout the country.”
The company has chalked out an aggressive plan to operate over 100 screens pan India focusing on major cities by end of this year with increasing presence in cities of Delhi NCR, Ahmedabad, Hyderabad & in the state of Maharashtra where it would have atleast 50 screens and the rest will be in the non-metros, Mr. Sharma said adding that the company By 2020, we want to reach 200 screens and we will be adding on average 30-35 screens every year.
According to Bhuvanesh Mendiratta, Miraj Vice President -Operations, “Over past three years we have invested nearly Rs one to 1.5 billion and will go all out to enhance our presence massively in coming days.”
With these additions, Miraj Cinemas is now have operations in 11 states with a presence in 21 cities and want to spread its wings to more Indian cities over next 2-3 years.
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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.
