Hindi
Sunny Leone’s ‘Ragini MMS 2’ sizzles at the box-office
MUMBAI: Ragini MMS 2 has an eventful opening weekend serving the purpose of casting Sunny Leone in the lead, as she was expected to be the star draw. The film has collected Rs 21.4 crore for the opening weekend; but is not expected to sustain during the week.
Ankhon Dekhi, Lakshmi and Gang Of Ghosts fail to find the audience this weekend.
Bewakoofiyan starring Ayushmann Khurrana and Sonam Kapoor has failed to make a mark at the box office. After an indifferent four day opening weekend, the first week run accounts for Rs 12.55 crore.
Queen continues to defy all norms to exceed its first week collections in week two backed by much appreciation. The film collects Rs 19.2 crore taking its two week tally to Rs 37.7 crore. The film continues to do well in its third week as well; lack of a worthy opposition helping its cause as well.
Gulaab Gang drops below Rs 1 crore in its second week, adds just Rs 90 lakh taking its two week total to Rs 11.1crore.
Total Siyapaa takes its two week tally to Rs 6.35 crore after adding Rs 50 lakh for its second week.
Shaadi Ke Side Effects manages a fair sum of Rs 1.5 crore in its third week, in the absence of competition; taking its three week total to Rs 36.55 crore.
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.
