Hindi
Relativity – B4U ties up with Balaji Motion Pictures
MUMBAI: Relativity – B4U, a joint venture established earlier this year, announced an association with Balaji Motion Pictures to produce three films, with the first being the Hindi remake of The Best of Me. The cast for the Hindi adaptation of the film is yet to be announced.
Announcing the agreement, Relativity-B4U CEO Ishan Saksena said, “Balaji has been producing hugely successful films over the last few years. This coupled with their undisputed TV content leadership makes Balaji an automatic choice for us to tie in. This three film co-production, a natural step in our progression provides a platform to bring the best of Relativity’s intellectual property, production skills, and unique monetising strategies to India, and partner with Balaji whose strengths in this area are unsurpassed.”
Commenting on the new deal, Balaji Telefilms Group CEO Sameer Nair said, “B4U has always been at the helm for delivering Bollywood content in India and internationally. This association with Relativity-B4U allows both our organizations’ synergies to be maximised and allows us to create engaging successful content for Indian audiences. We feel that this co-production deal plays to our mutual strengths and will give Indian audiences uniquely creative filmed content.”
Adding to the same, Balaji Telefilms joint managing director and creative director Ekta Kapoor revealed, “The co-production tie-up also brings us unprecedented access to Relativity’s catalogue past and future and allows for the films to be re-imagined for India. Relativity boasts of an exciting array of films and a creative collaboration with Relativity is something that excites all of us at Balaji.”
“The agreement brings great strength to Relativity’s existing catalogue of content, and we believe that this is a unique blueprint that further bridges two great filmmaking industries — Hollywood and Bollywood,” added Relativity CEO Ryan Kavanaugh.
Relativity – B4U also recently premiered its first distribution venture The Best of Me, at the first South Asian premiere of a Hollywood film in the company of its lead actors Michelle Monaghan and James Marsden, and Director Michael Hoffman.
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.
