Hindi
PVR Q1 profit increases 3% to Rs. 443 mn
MUMBAI: PVR Limited announced its audited standalone and consolidated financial results for the quarter and year ended 30 June, 2017.
The consolidated revenues for quarter ended June, 2017 was Rs 6.53 billion as compared to Rs 5.79 billion during the corresponding period of last year, up by 13%.
Consolidated EBITDA for the quarter was Rs. 1.29 billion as against Rs 1.23 billion in the same period last year, up by 4%. Consolidated PAT for the quarter was Rs. 443 million as against Rs 432 million in the same period last year, up by 3%.
The box office revenues for the quarter were up by 11% from Rs 3080 million to Rs 3430 million. F&B revenues were up by 12% from Rs 1.48 billion to Rs 1.65 billion led by strong growth of spend per head. Advertising revenues showed a stellar growth of 31% & increased to Rs 674 million as compared to Rs 515 million.
During the first quarter PVR added a total of 8 screens (5 screen in Chennai & 3 screen in Kota) and currently operates a network of 587 screens spread over 128 properties in 51 cities across the country. The company intends to add approx. 65-70 screens in FY 17-18.
Commenting on the results and performance, PVR Ltd CMD Ajay Bijli said, “For 20 years, we have worked ardently to take India to the movies with new and innovative offerings like Gold Class, Director’s Cut, Plush recliners, IMAX, 4DX, Playhouse, PXL, Dolby Atmos, VR Lounge, Vkaao to add more layers of excitement and joy to the cinematic experience of our customers. It has been the propeller of our growth engine over the years & it shall continue for years to come. We are the leading multiplex player in India and will soon surpass the 600 screens mark.”
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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.
