Hindi
Sunny Leone’s ‘Pink Lips’ crosses 1 million views
MUMBAI: Ragini MMS2 made a space for itself in the hearts of the moviegoers even before it released, and that was due to its hit number ‘Baby Doll’. The upcoming movie Hate Story2, is generating the same response, thanks to the latest released ‘Pink Lips’.
The song which sees Sunny Leone shaking her legs to the number composed by Meet brothers and choreographed by Uma-Gaiti has already generated 1,281,224 views, while the teaser has garnered 1,655,205 views.
It can be recalled that the song ‘Baby Doll’ was also choreographed by Uma- Gaiti. “The success of ‘Baby Doll’ had left a lot of pressure on Uma-Gaiti to deliver something bigger and better and they have done justice to this as well. Since Sunny was constantly shooting for a reality show, Uma- Gaiti had to send their assistants to Jaipur to help Sunny rehearse due to time constraint,” said a release.
The song which was shot in two days, sees Sunny wearing six different outfits which sensually suits her persona while she grooves to the new dance moves in ‘Pink Lips’.
The promotional song is for the movie Hate story 2 produced by T-series and sung by debut singer Khushbo Grewal.
The song teaser hit the one million mark within just three days of its launch.
“It has been an absolute pleasure to put ‘Pink Lips’ together. We have choreographed ‘Baby Doll’ with Sunny so with ‘Pink Lips’ the process got easier. We had a better tuning this time and would get each other faster. In a shoot environment this really helps. Apart for the work equation with Sunny the song is extremely close to our heart as we have been involved in the making and all other creative aspects of it. Sunny was running a tight schedule we had sent our assistants to Jaipur for her to learn the steps. ‘Pink Lips’ was a huge challenge as it was being pitted against ‘Baby Doll.’ We wrapped up six sets in a record time of two days. Kudos to the team and Sunny,’ said Uma-Gaiti.
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.
