Hindi
Pratik Gandhi and Patralekha unveil Phule poster on Mahatma Phule’s birth anniversary
Mumbai: The highly anticipated film ‘Phule’ has released a captivating new poster, offering audiences a glimpse into the hallowed legacy of social reformers Mahatma Jyotirao Govindrao Phule and his wife, Dnyanajyoti Savitribai Phule. Directed by acclaimed filmmaker Ananth Mahadevan, the film promises to unveil the untold story of the two visionary icons who waged a relentless battle against casteism and championed female education in India.
The poster was released to mark the birth anniversary of Mahatma Phule which is a landmark in the annals of Indian modern history.
In the newly unveiled poster, lead actors Pratik Gandhi and Patralekha, portraying the iconic couple, are depicted gazing toward the horizon, symbolising the dawn of a new era—a metaphor for the educational revolution initiated by the Phules. Their resolute expressions and striking resemblance to the revered social reformers serve as a poignant reminder of the indomitable spirit and unwavering commitment of Jyotirao and Savitribai Phule in their pursuit of social justice and equality.
Producer’s Jagdish Patel, Pranay Chokshi, Suunil Jaiin, Anuya Chauhan Kudecha and Ritesh Kudecha, have joined forces to bring this monumental project to fruition, determined in their dedication to honouring the legacy of the Phule couple and shedding light on their invaluable contributions to India’s social fabric.
Jyotiba and Savitribai Phule, revered as visionary social reformers, blazed a trail in the fight against caste and gender-based discrimination. Their pioneering efforts led to the establishment of India’s first girls’ school in Pune in 1848, laying the foundation for a transformative revolution in education and social reform. Despite the challenges posed by British imperialism, the Phules remained steadfast in their mission, earning Jyotirao the esteemed title of ‘Mahatma’ for his tireless advocacy of gender and caste equality.
Speaking about the film, National Award-winning director Ananth Narayan Mahadevan expressed his desire to shine a spotlight on the prevailing social ills that continue to plague society today. “Mahatma and Jyotiba Phule fought against caste and gender discrimination, which unfortunately persists even today. I aim to reignite conversations about these pressing issues that demand our attention,” remarked Mahadevan.
As anticipation builds for the release of ‘Phule’, the unveiling of the new poster serves as a poignant reminder of the enduring legacy of two extraordinary individuals whose tireless efforts continue to inspire generations and shape the future of a more equitable society. The film currently in post-production, is slated to release this year.
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.
