Hindi
With Ghaziabad multiplex, Cinepolis crosses 300 screens
NEW DELHI: With the opening of the 10-screen multiplex in Ghaziabad, Cinépolis crossed the 300 milestone India, with the total screen count now standing at 303 screens.
Caiming to be India’s first International and the world’s fourth largest movie theatre circuit, Cinépolis has opened the ten screen multiplex in R.E.D Mall at GT Road in Ghaziabad..
This is Cinépolis’ foremost property in Ghaziabad and also marks the opening of the largest cinema outlet in Ghaziabad. Cinépolis now has 39 Screens across nine cinemas in the National Capital Region.
The newly inaugurated multiplex has a total seating capacity of 1619 seats and is scheduled to run more than 50 shows per day. The theatre is equipped with an exceptional RealD 3D technology and 100% digital projections and offers gourmet food at its trademark outlet Coffee Tree.
Cinépolis India MD Javier Sotomayor said, “We have crossed an important landmark of reaching 300 screens in India in accordance with our expansion strategy and will be opening more multiplexes around the country.”
Cinépolis India director – expansion Ashish Shukla added: “This new property further validates our commitment to open more screens & offer the best cinema experience to movie goers, across India”
Cinépolis India director – strategic initiatives Devang Sampat added: “We have also introduced point based programmes like Club Cinépolis for patrons that offer exclusive services and promotions to members. We are positive that with such services, we will be able to engage with more & more patrons”
According to Rakesh Babbar from R.E.D Mall, “The Mall will definitely emerge as an ideal cinema destination for the consumers after this launch.”
The specially designed multiplex theatre will also offer freshly prepared gourmet food and beverages from the exquisite menu of Coffee Tree – the in-house signature coffee shop by Cinépolis. The brand also has unique flavored popcorns which include Butter salt, Cheese and Caramel Popcorns.
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.
