Hindi
Miraj Cinemas launches new premium multiplex in Sanand, Ahmedabad
Mumbai: Miraj Cinemas, India’s fastest-growing and third-largest national multiplex chain, proudly announces the opening of its latest premium multiplex in the dynamic industrial city of Sanand, Ahmedabad. This newly opened multiplex is prominently located on the third floor of Vardhaman Square, facing the Hajarimata Temple on the Viramgam Highway—an ideal setting that symbolizes Miraj Cinemas’ strategic expansion across the nation. The opening of this multiplex marks a significant enhancement in Miraj Cinemas’ presence in Gujarat, increasing its portfolio to five outstanding properties and 22 screens across the state. This expansion underscores the company’s dedication to providing first-rate entertainment experiences and setting new standards in cinematic luxury and technological advancements.
The Sanand multiplex has three beautifully crafted screens with a total seating capacity of 374 (screen 1: 125, screen 2: 125 and screen 3: 124 seats), offering an exceptional array of upscale amenities. Each auditorium is outfitted with the latest projection technology and crystal-clear sound systems, creating an immersive, unforgettable film viewing experience. The seating arrangements include only plush sofa seats, state-of-the-art recliners, and lavish loungers designed to ensure optimal viewing comfort. Additionally, the multiplex features unique culinary offerings at the exclusive Pop Corner and live counter Chef’s Corner, where guests can savour gourmet cuisine and artisanal snacks prepared by inhouse team of chefs—redefining the luxury cinema experience.
Miraj Entertainment Ltd MD Amit Sharma said, “We are delighted to open our new multiplex in Sanand, which is not only a reflection of our commitment to providing an unmatched cinema experience but also signifies our strong belief in the potential of Gujarat as a critical market for quality entertainment. It has been conceived and crafted with the discerning tastes of our patrons, who seek more than just a movie viewing; they seek an unforgettable experience. Our commitment to providing an unmatched cinematic journey is stronger than ever as we continue our expansion.”
We warmly invite you to experience the ultimate luxury and entertainment at the new Miraj Cinemas multiplex in Sanand, where every visit is more than just a movie—it’s a gateway to a world of opulence and excitement.
Miraj Cinemas is renowned for its superior service and innovative entertainment solutions. Now operating 66 properties with 208 screens in 46 cities across 16 states, the company is steadily progressing towards reaching 300 screens by FY25. The new Sanand multiplex, located in one of Western India’s major industrial hubs, is a crucial part of Miraj’s ongoing national expansion plans, which include upcoming cinemas in major cities like Mumbai, Delhi NCR, Chennai, Patiala, Ludhiana, Indore, Alwar, Agra, and Jamshedpur, and more.
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.
