Hindi
Top honours at Haryana fest for film on kite flying
MUMBAI: Filmmaker Gitanjali Sinha’s Yeh Khula Aasmaan has received top honours at the Haryana Film Festival that ended recently.
Starring Raghubir Yadav and Yashpal Sharma, the film revolves around a kid learning how to soar again like a kite, notwithstanding his academic failures.
Yeh Khula Aasman revolves around Avinash, a 12th standard student staying alone in a metro city, who does not do too well in his exams. His career-oriented parents compromise on their parenthood responsibilities to take up permanent residence in London, leaving Avinash to fend for himself in an emotional vacuum.
Unable to take peer and parental pressure to excel in studies and bereft of any true friends, Avinash becomes lonely and hence depressed. He decides to escape his routine and visit his grandfather who has been staying alone in a small town in North India.
What happens when Dadu realises the fragile mental state of Avinash forms the crux of the film.
In short, the film is a relationship-based motivational film that touches the audience of all ages with specific message to both the youth and their parents.
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.
