Hindi
MVP Entertainment to release ‘Baahubali’ in seven countries
NEW DELHI: Indian blockbuster film Baahubali: The Beginning by S S Rajamouli is all set to release in seven territories across Asia.
MVP Entertainment will release the film in Indonesia, Thailand, Vietnam, Laos, Cambodia, Myanmar, and Timor-Leste.
The deal was struck at the recently concluded Busan Asian Film Market between MVP president Raam Punjabi and manager Vikas Sharma and the film’s co-producer Shobu Yarlagadda and Francois da Silva from Arka Mediaworks International.
Additionally, the film has already got dates for release in China and Japan in conjunction with E Stars for China and Twin Co. for Japan.
The opening film of the Busan Film Festival’s Open Cinema Stand, Baahubali has grossed $92 million so far.
Rajamouli’s earlier film Eega was screened at Toronto, Shanghai, and several other international film festivals, giving him a cult status.
Rajamouli has shot about 40 per cent of Baahubali: The Conclusion and will commence the rest in November-end in Hyderabad’s Ramoji Film City. Some forest sequences will be shot in the northern Indian state of Himachal Pradesh.
The film is expected to be release by the end of next year, and will be released simultaneously in Telugu, Hindi and other languages.
The film’s success lay in the final epic war scene that was filmed with a lot of ingenuity and original stunts. Owing to the grandeur, the budget of the two Baahubali films has gone up from $40 million to $50 million.
The Baahubali saga is about brothers in medieval India in conflict over a rich kingdom and is rich in imagery, battles and skulduggery. It stars Prabhas, Rana Daggubati, Anushka Shetty, Tamannah, Sathyaraj and Ramya Krishnan.
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.
