Hindi
US$ 20m Drishyam fund for 10 Indian films in two years, releases showreel
MUMBAI: Mumbai-based Drishyam Films is set to launch a $20m Production Fund to facilitate the growth of independent Indian cinema and to escalate it to a global reach.
The fund will be spent in developing and producing cutting edge original content that will be true to the Drishyam vision of cinema, i.e. local in its setting but global in its appeal. It will be put to use for producing 10 independent Indian films over the next two years.
Manish Mundra, founder of Drishyam Films, expects to announce the first projects under the fund in the early 2018. In addition to the production of the films, the fund will also be used to develop Drishyam Films’ VFX Studio in Mumbai.
The production fund, which is raised independently by Manish Mundra, will help Drishyam Films towards accomplishing their goals of building a platform for unique voices of Indian independent cinema and create global content with rich Indian flavours.
Mundra says: “This fund has been set up with the objective of taking Indian cinema to the next level internationally. We plan to take our focus on content driven cinema and merge it with high technical finesse to make films that will travel across the world.”
The studio which has produced some of the most acclaimed and globally feted Indian films recently such as Ankhon Dekhi, Masaan, Dhanak, Umrika and Waiting also released a special showreel that celebrates their impressive body of work, and also gives audiences a sneak preview of their forthcoming releases.
Apart from the fund, Mundra has two new features going into production over the summer – Mohamed Gani’s Cycle, about the importance of the humble bicycle in small-town India, and Ganesh Shetty’s Anonymous, about a woman and her relationship with society as she undergoes an abortion. Both films are being readied for festival submission by the end of the year.
Drishyam Films has already had a great start to 2017, with their next release Newton starring Rajkummar Rao winning the CICAE Award at the Berlin International Film Festival 2017 and the Jury Prize for Best Film at the 41st Hong Kong Film Festival, 2017. More recently, their films won big at the 64th National Film Awards where Dhanak won Best Children’s Film, while Kadvi Hawa bagged a Special Mention.
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.
