Hindi
Two Chillar Party sequels in offing
MUMBAI: Going by the response that his first production venture Chillar Party has been getting, Salman Khan has decided to make not one but two sequels of the film. With this move, Khan has apparently made it clear that he‘d like to be on board for the entire series.
Confirming the same, co-director Vikas Bahl said, “We actually shot the film two years ago. And when Salman came into the picture the kids were again back into action. They bonded so well with Salman, that it would be heartbreaking for them if he had moved on.”
On Khan coming aboard for the two sequels, Bahl added, “Yes we‘ve written two more screenplays for the Chillar Party series. In one, all the kids get together to take the slum-kid Fatka (Irfan Khan) and all his slum-mates to school. In the third film, the kids are the think-tank for the Indian Olympic squad hired by the government.”
Incidentally, the first film had delved on several issues as child employment, love for animals and politician’s involvement in housing society matter.
Bahl, along with writer-director Nitesh Tiwari, is in the process of writing the fourth story of the Chillar Party series.
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.
