Hindi
T-Series and Vishesh Films Aashiqui 2 to release 26 April
NEW DELHI: The Mohit Suri-directed ‘Aashiqui 2‘ musical produced by T-Series and Vishesh Films is slated for release on 26 April.
While the musicial drama that released over two decades ago starred Rahul Roy and Anu Agarwal in career changing roles, the new installment stars Shraddha Kapoor and Aditya Roy Kapoor in the lead.
Says producer Mahesh Bhatt, "The franchise continues… the film is a completely brand new product with an extraordinary story. We will take the brand, not the story forward with an out-and-out love story."
Contrary to the reports, ‘Aashiqui 2‘ is not a sequel to ‘Aashiqui‘, Suri clarified. "It‘s a new story. The only similarity is the music and the love story. There are seven to eight songs in the film. It‘s a musical."
Talking about what can be expected from the film, producer Bhatt said, "It‘s a contemporary love story dealing with mature emotions. All three actors have extremely challenging dramatic roles. It is not a film about only looking good, singing and dancing. These are performance-oriented parts, and we are convinced that ‘Aashiqui 2‘ would do for Shraddha, Aditya and Shaad what the first ‘Aashiqui‘ did for Rahul, Anu and Deepak Taijori."
Keeping with the brand of the film, the music will remain a highlight with the first song Tum Hi Ho already making waves. According to producer Bhushan Kumar of T-Series, "We have already recorded many songs for ‘Aashiqui 2‘ and we are confident that the audience will enjoy them. But people insisted we bring back at least one song from the original. Whatever the outcome, the music will not disappoint."
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.
