Hindi
Subhash Ghai to get Lifetime Achievement Award at Delhi International Filmfest
NEW DELHI: Even as the entries for the third edition of the Delhi International Film Festival (DIFF), to be held in December this year, were called for, one thing which is clear is that versatile showman Subhash Ghai will be honoured with the Lifetime Achievement Award at the Festival.
The Minar-e-Dilli Award is proposed to be presented to Ghazal Maestro Gulam Ali, and Pakistan is expected to be the partner country for the festival to be held from 20-27 December.
DIFF 2014 is an initiative by “The Social Circle, A Society for Cause and – A step toward inclusiveness” to showcase the best of Cinema, Art and Literature from across the globe.
Started in 2012, the advisory board for this festival is headed by Dada Saheb Phalke awardee Adoor Gopalakrishnan. Working closely with him are some of the greats of Indian Cinema including the national award winning directors Tigmanshu Dhulia, Anurag Kashyap and Anooj Kapoor, Mohan Agashe, Manoj Bajpai, Mandira Bedi, Shriram Raghwan, Jimmy Shergill, N. Chandra, Sandeep Marwah, Shailesh Lodha, Yashpal Sharma and Arvind Gaur, apart from Satish Anand from Pakistan.
Now in its third edition, the festival hopes to showcase 200 films from around 45 countries as against 170 in the previous years.
The earlier editions also showcased 100 paintings and sculptures from India. The two editions also had a literature section with 100 NRI poets displaying their work at the venue. The second edition of the festival saw the addition of Fashion, Singing, Band events and Sufi night by Nizami Brothers, thus making DIFF the only festival in the world with so many sections and live events every evening during the seven days of the festival.
The other events during the festival include ‘Band of the Year’ with participation of more than 25 bands from all over India; ‘Singer of the Year’, a tribute to Mohammed Rafi, ‘Face and Designer of the Year’, daily seminars and workshops and book launches on various aspects of cinema, art and literature.
To promote cinema, art and culture, the festival has associated itself with French and Israeli Embassies in New Delhi along with HUNERKADAA, well known Visual Arts and Performance Institute and EVEREADY GROUP, one of the leading film distribution company from Pakistan.
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.
