Hindi
Ra.One collects Rs 625 mn gross at BO in 2 days
MUMBAI: Eros International Media (Eros International) said today that Bollywood star Shah Rukh Khan‘s superhero film Ra.One has garnered a gross collection of Rs 625 million in first two days.
Ra.One, produced by Red Chillies Entertainments was released across theatres worldwide on 26 October.
The movie grossed Rs 265 million with a net of Rs 185 million on Wednesday, making it the highest ever Diwali day collection in the history of Indian cinema, eros said.
The second day collections on Thursday were even more as the film raked in Rs 360 million gross with a net of Rs 251 million.
"Also in the overseas market, the film has shown magnificent performance being the highest collections for any Indian film so far," the company said.
Eros International Media SVP distribution Nandu Ahuja said, "We are witnessing unparalleled collections across the country with record breaking figures from different territories. Business usually gets hampered on Diwali day in the evening due to Laxmi Pooja, despite which Ra.One has performed exceptionally well across the country and has proved to be the biggest ever Diwali day release. The film has opened at 95 to 100 per cent collections from most territories and is a sure sign of one of the biggest blockbusters in the making in Bollywood. The second day figures have also broken records for the highest collections for a single day for an Indian film."
Eros International Media Group CFO Kamal Jain added, "Majority of the film‘s costs have been recovered before the film hit theatres and the box office numbers are exemplary giving major boost to profitability. We are extremely happy with the box office performance of the film as the same is very much in line with our expectations."
Ra.One opened across more than 4,000 plus screens worldwide – 3,100 plus screens in India and 904 prints internationally, including 3D, Tamil and Telugu.
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.
