Hindi
PVR Pictures all set to release Breaking Dawn-Part 2 on 23 November
MUMBAI: PVR Pictures is all set to release Breaking Dawn- Part 2, the final instalment of The Twilight Saga in India on 23 November.
The fifth and last film in the blockbuster vampire series is being eagerly awaited in India and is expected to better the box office records of the previous four films in the series so far.
The film has already scored best weekend opening worldwide and in the history of the franchise, thanks to massive international business.
Said PVR Pictures President Kamal Gianchandani, “The Twilight Saga has been a resounding success for everyone involved with the film. Whether it‘s the leading stars or the cult status that the book has achieved, it is all thanks to the film‘s universal appeal. With its huge global opening of $ 340.9 million, we are looking forward to a similar response to the film here in India as well.”
The Twilight Saga: Breaking Dawn — Part 2 topped the worldwide weekend box office with $340.9 million opening, including $141.3 million domestically from 4,070 theaters and $199.6 million internationally from 61 markets.
Directed by Bill Condon, Breaking Dawn 2 returns Kristen Stewart, Robert Pattinson and Taylor Lautner in the lead roles for a final time. Breaking Dawn 2 has drawn tremendous response from audiences globally, having captured the attention of teenagers, men, women and elders alike with each passing film. Breaking Dawn: Part 2 is easily among one of the most awaited Hollywood films in India, expected to surpass domestic box office records for all overseas films releasing this year.
In North America, Breaking Dawn 2 opened ahead of the $138.1 million grossed by The Twilight Saga: Breaking Dawn — Part 1 on the same weekend last year. Overseas, Breaking Dawn 2 opened well ahead of previous Twilight films in almost every territory.
The franchise has so far yielded over $2.5 billion worldwide, half of it coming from American theatres.
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.
