Hindi
‘NH10’ collects Rs 12.8 crore in its opening weekend
MUMBAI: Anushka Sharma’s debut as a part producer in NH10 and essaying a performance oriented, award seeking role, does not quite excite the moviegoer. A dark movie with the theme limited to a particular region and honour killing as the base, further affected by an ‘A’ certification, limits its audience, compounded by the exams period.
The film starts off with five to ten per cent occupancy at multiplexes with single screens’ occupancy being even poorer. NH10 improved over Saturday and Sunday to collect Rs 12.8 crore in its opening weekend.
Dirty Politics, which collected Rs 4.2 crore over its first weekend, barely managed to add another Rs 2 crore over the next four days to end its first week with Rs 6.2 crore.
Badmashiyaan proved to be a total disaster, managing to collect just about Rs 75 lakh in its first week.
Choreographer Ganesh Acharya’s production, Hey Bro, is rejected all around. The film fails to attract the audience and manages to collect just about Rs 1 crore in its first week.
Dum Laga Ke Haisha is the only film that stays afloat despite having a slow start. After performing better in its second weekend as compared to its first weekend, the film holds steady to collect Rs 8.32 crore in its second week thus taking its two week tally to Rs 18.96 crore. The film has emerged as the only wholesome family entertainer in quite some time.
Badlapur: Don’t Miss The Beginning adds Rs 3.6 crore in its third week to take its three week total to Rs 47.7 crore.
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.
