Hindi
Prakash Jha to make film on creative freedom
MUMBAI: Inspired with his stints at the Supreme Court vis-a-vis the ban on his film Aarakshan by the UP government and the aftermath, filmmaker Prakash Jha has decided to make a film on creative freedom and the efforts to muzzle the artiste through extra-constitutional means.
Jha‘s experience of battling various organisations and the UP government for the release of Aarakshan has inspired a script on the subject. "Why are we filmmakers constantly subjected to efforts to stifle our voices? I was provoked enough to go to the Supreme Court. A lot of filmmakers just succumb to pressure and make whatever adjustments are required of them. We shouldn‘t allow this to happen,"Jha said.
According to the filmmaker, the Supreme Court‘s decision to lift the ban imposed on Aarakshan was historic. However, there is no sense of triumph in the victory, since the failure to release the film in Uttar Pradesh along with other states on 12 August resulted in huge losses.
The director is happy he fought the ban. "There‘s a lesson for all filmmakers. We should not buckle under pressure. My film is not the first to face hurdles from state governments after being censored by the central board of certification. The film industry needs to collectively fight pressures from the outside," he asserted.
Meanwhile it is learnt that Jha and Amitabh Bachchan will soon collaborate again on the former’s next film, Satyagraha, that will take on the issue of corruption in Indian politics.
Scheduled to go on the floors in January, the film will address the ethos of a peaceful mass protest against corruption and will have Bachchan play a Anna Hazare-styled crusader who takes on the establishment in his fight against corruption.
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.
