Hindi
Thalapathy Vijay’s‘ GOAT’ trailer to be unveiled on Saturday, 17 August
Mumbai: The trailer of Thalapathy Vijay’s film, “The Greatest Of All Time” (“Thalapathy is the GOAT” in Hindi ), will be unveiled by the makers on 17 August. The announcement was made on 15 August 2024, with a new poster, coinciding with India’s Independence Day.
This Tamil-language Pan India action film, directed by blockbuster filmmaker Venkat Prabhu and produced by Kalpathi S Aghoram, Kalpathi S Ganesh and Kalpathi S Suresh of AGS Entertainment, has already created a massive buzz, making it one of the most anticipated releases of the year.
“The audiences are in for a treat, the collaboration of Venkat Prabhu and Thalapathy Vijay is spectacular. Both creatively and visually the film pushes boundaries and we are looking forward to the audiences experiencing it with the trailer this Saturday. The trailer though, is just a small glimpse of what’s in store” said AGS Entertainment Archana Kalpathi, CEO.
‘Thalapathy is the GOAT’ headlines Thalapathy Vijay in a dual role, promising fans a thrilling experience with a blend of high-octane action and a gripping narrative. Alongside a stellar cast that includes Prashanth, Prabhu Deva, Ajmal Ameer, Mohan, Jayaram, Sneha, Laila, Meenakshi Chaudhary, and Yogi Babu, the film is poised to be a cinematic spectacle. With the music composed by acclaimed composer Yuvan Shankar Raja, the songs of the film are already a rage.
This film also marks Thalapathy Vijay’s 68th appearance as a hero and his dynamic performance is expected to be one the most pivotal roles of his career.
With the new poster unveiled on a day of national pride, the anticipation for ‘Thalapathy is the GOAT’ is at an all-time high.
The film is slated for a worldwide release on 5 September 2024, in both standard and IMAX formats, promising a visual extravaganza that will captivate audiences. Zee Studios will release the film across north India.
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.
