Hindi
Not much collection at the box office
MUMBAI: Mr X paid for its poor content and the resultant negative word of mouth. Having opened to below par collections on day one, it failed to better its opening day collections on Saturday and Sunday and ended its opening weekend with Rs 12.45 crore.
Margarita With A Straw, despite limited screens release, put up a poor performance at the box office. Except Kalki Koechlin, who earned some plaudits for her performance, nobody looks likely to benefit from this enterprise. The film collected Rs 1.9 crore. NH 8 Road To Nidhivan is starved of audience and has no hope at the box office.
Nanak Shah Fakir carried lots of hope coming as it does after a very successful Char Sahebzaade, another film on the Sikh saga, but fails to even get a decent opening.
Ek Paheli Leela, with Sunny Leone’s skin show being the draw, had a limited appeal, which wears out after its opening weekend. The film added little over Rs 7 crore for the rest of the four days to end its first week with Rs 18.7 crore.
Dharam Sankat Mein proves that best of performers can’t carry a film if the content is poor. The trio of Paresh Rawal, Naseeruddin Shah and Annu Kapoor could do little to salvage this poorly crafted film, which opened to weak response and remained that way through its first week. The film could manage just about Rs 7.6 crore for its first week.
Detective ByomkeshBakshy, despite its deficiencies, managed a reasonable second week thanks to poor oppositions. The film collected Rs 5.2 crore to take its two week tally Rs 25.17 crore.
Dum Laga Ke Haisha, the best performer at the box office so far this year, added a symbolic Rs 5 lakh in its seventh week to come to the end of its run at the box office with total of Rs 30.37 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.
