Hindi
PNC’s sequel of Pyaar Ke Side Effects to have Vidya Balan & Farhan Akhtar
MUMBAI: The makers of the 2006 hit ,Pyaar Ke Side Effects, have managed to pull off a casting coup of sorts and have roped in Vidya Balan and Farhan Akhtar for the sequel titled Shaadi Ke Side Effects.
The film is a clever take on fascinating ways love works before and after marriage.
The romantic-comedy will see the actors essaying the role of a married couple who are coping with their issues, much on the comic lines of the first film.
Talking about the plot, producer Pritish Nandy says that “Vidya will be playing a Delhi girl and Farhan a Bombay boy.”
The story moves ahead from where Trisha and Sid’s characters (Pyaar Ke Side Effects) left – they get married and the changes that come in their married life, the transformation in their relationship and how they tackle these changes.
“Farhan Akhtar and Vidya Balan are the two most successful actors of 2011. We are privileged to have them as the stars of Shaadi Ke Side-Effects and that is why I think this film tops our calendar for the coming year. My belief is that Shaadi Ke Side-Effects has the ability to be 2012‘s most exciting film, wild, wicked and wonderfully, wonderfully entertaining. Mars VS Venus at its best,” says Nandy.
While the film has an all new star cast, the director Saket Choudhary and music composer Pritam have been retained.
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.
