Hindi
Panchami Ghavri challenges stereotypes: ‘Women can work together’ in ‘The Crew’
Mumbai: In an industry often dominated by male-centric narratives, casting director Panchami Ghavri stands as a beacon of change, spearheading projects that celebrate the strength and complexity of female characters. Ghavri’s upcoming project, “The Crew,” promises to be a game-changer, boasting a stellar cast led by powerhouse actresses Tabu, Kareena Kapoor, and Kriti Sanon. Now, Panchami opens up about the importance of female-centric films, the evolving preferences of the audience, and her hopes for the impact of such projects.
“I think there always has been a disparity in the kind of box office openings female-led films take as compared to male,” Ghavri reflects candidly. “Our male-to-women ratio is not the best in general. However, I haven’t seen this much excitement about a female-led film in a long, long time. Everyone I meet is excited about ‘The Crew.’ It’s also a really exciting cast; we haven’t seen such a strong female cast in a long time.”
Ghavri’s enthusiasm for the project is palpable, fueled by the prospect of challenging age-old norms and stereotypes. “First of all, to break the age-old norm that women can’t work together. Whoever said this was a man,” she quips with a smile. “I think women have really interesting stories to tell, and through a different lens. Rhea [Kapoor] herself is always looking for scripts that have a strong female voice in them. I think in India, we’re still a long way to go, but we’re getting there for sure!”
Indeed, the landscape of Indian cinema is witnessing a gradual but significant shift, as audiences increasingly gravitate towards narratives centered on women. Ghavri acknowledges this trend, noting, “The audience is changing their preferences when it comes to female-led films. I’m a woman, and I love strong narratives of women. At the end of the day, women are able to hustle at work, handle kids, run a home, manage family expectations—all of it simultaneously.”
With “The Crew,” Ghavri and her team are poised to make a significant impact, not only in challenging gender stereotypes but also in amplifying the voices of women in cinema. “Then often you hear of men needing help with getting appointments for themselves,” Ghavri remarks with a laugh. “It’s funny, but it’s true. So I think the stronger our voice, the more we will be heard. Things are changing for sure!”
As the film industry continues to evolve, Ghavri remains committed to championing stories that resonate with authenticity and depth. With “The Crew,” she hopes to inspire a new generation of filmmakers and audiences alike, proving that women-led narratives are not only relevant but essential in shaping the cultural landscape of Indian cinema.
On the work front, Panchami Ghavri is making waves with her exciting lineup of upcoming projects and recent releases. With “The Crew” and “Mr and Mrs Mahi” on the horizon, Ghavri is poised to showcase her knack for assembling stellar casts and championing compelling narratives. These projects promise to captivate audiences with their diverse storytelling and dynamic characters. Meanwhile, Ghavri’s recent releases, including “Murder Mubarak,” “Yodha,” “Karmma Calling,” and “Showtime,” have garnered praise for their innovative approach and engaging storytelling. As a casting director with an eye for talent and a commitment to pushing boundaries, Ghavri continues to leave an indelible mark on the Indian film industry.
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.
