Hindi
Sanjoy Nag casts Revathy & Rituparna Sengupta in ‘Good Morning Sunshine’
MUMBAI: National Award winning director Sanjoy Nag (Memories of March) has pulled a coup of sorts by casting two National Award winning actresses Revathy and Rituparna Sengupta in his next directorial venture titled Good Morning Sunshine.
The film also features Tejaswani Kolhapuri and Shweta Tripathi (Masaan). The film will be shot in Mumbai, Benaras, Lucknow and Mirzapur. The unit recently completed a two days schedule in Mumbai.
The film revolves around Rai (Rituparna Sengupta), an aspiring director, pulls off a casting coup of sorts when yesteryear diva Radha (Revathy) finally gives her consent to play the lead in her debut feature film. Rai in her earlier avatar as a film critic of a TV channel, had trashed Radha’s latest at the box office, resulting in an unpleasant manifestation of Radha’s ego, creating a vitiated atmosphere not to mention the frayed tempers.
Lack of access to hygienic sanitation and toilet facilities, especially for women in India, cutting across the socio-economic strata forms the thread, which ties the story of ‘Sunshine’, the film being conceived. The film delves into the lives of diverse and interesting characters such as Leelavati (Shweta Tripathi), a young runaway bride; Jamini (Tejaswini Kolhapure) battling amnesia post her alleged rape; Anjali losing her only daughter Sonali while defecating in the open, and others around them who form a silent majority in India.
Thereafter, the film is an exploration of how Radha’s life intertwines with that of Rai, Leelavati, Jamini and Anjali as they set about completing their film, till an accident throws the film out of gear.
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.
