Hindi
NextGen 3D screens in Kota takes PVR tally to 587 screens in 51 cities
MUMBAI: PVR Cinemas, cinema exhibition chain, has announced the launch of its first three-screen multiplex at Cine Mall, Kota. The newly launched PVR property will redefine the cinema experience in the city with its luxurious and comfortable interiors along with state of the art sound and projection technology. With this launch, PVR’s screen count in Rajasthan stands at seven screens in two properties, augmenting its presence in the Northern Region of the country to 197 screens in 46 properties.
PVR claims to now operate the largest multiplex network with 587 screens at 128 properties in 51 cities
Spread across an area of 30,000 sq ft with a seating capacity of 828 seats, the brand new multiplex will be city’s first cinema with recliners and next generation 3D technology. It also offers an exceptional digital movie experience with 7.1 Dolby Digital surround sound and 2K projection systems providing the best cinema watching experience to the customers.
Speaking on the occasion, PVR Cinemas CEO Gautam Dutta said, “The new cinema in the city will deliver best in class services just like our properties in Delhi or Mumbai. We hope to receive an overwhelming response from the people of Kota and strive to provide them world class cinema watching experience.”
Besides its unique interiors and a wide range of F&B; the cinema is also equipped with Quick Tix facility, an instant ticketing solution that gives an added convenience to the customers. Furthermore, patrons can also avail the facility of redeeming PVR gift cards and privilege cards at the cinema.
At the launch of the cinema, E- City Bioscope Entertainment MD Abhishek Bansal said, “Our association with PVR Cinemas has been wonderful since inception and our team seamlessly interacted with different departments of PVR at various stages of this project in the most pleasant, efficient and professional manner.
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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.
