Movies
7th Advantage India Short Film Contest organized by Pocket Films, calls for entries
MUMBAI: Pocket Films has organized a short film contest, 7th Advantage India in association with River to River Florence Indian Film Festival, Italy. With a promise to be bigger and better like every year, 7th Advantage India Short Film contest is calling for entries from young budding film makers as well as professional filmmakers.
Organized with an aim to uplift the filmmakers and give them the ‘center stage’ in the film industry by recognizing their talent internationally, the contest has carved its name in the industry through its initiative taken for short filmmakers.
7th Advantage India organized by Pocket Films will render a lot of opportunities to filmmakers to show up their talent in filmmaking. It opens the doors for the 3 winning films to reach out to audiences and other festivals in Europe through screening at River to River and as promised 7th Advantage India is back this time to take the film makers a step closer to their dreams.
The 3 winning films will be broadcast on the show ‘Prime Talkies with Pocket Films’ on NDTV Prime, getting a national audience.
Further, Pocket Films is proud to present the first ever ‘India Chapter of the River To River, Florence Indian Film Festival’ in Mumbai in March 2015. All the winning films of the festival (not just Advantage India) will be screened at this event to be held at Blue Frog.
The film entries will be judged by esteemed jury members like Film maker, Nagesh Kukunoor, Director of River to River, Florence Indian Film Festival, Selvaggia Velo and Specializer in casting, film programming and Academic research, and Editor of Film India Worldwide ‘Uma Da Cunha.
According to Saameer Mody, Managing Director, Pocket films, “7th Advantage India is an initiative by Pocket films which is aimed to showcase the talent to respected professionals and veteran film directors from the industry. We aim to be at the forefront of these exciting, challenging and transformative times by giving alternate content and its creators the exposure and acclaim they deserve.”
By organizing such contests, especially in association with respected International Film Festivals, Pocket Films provides a fantastic platform for filmmakers to show case their talent not only domestically but worldwide.
River to River is the only festival in Italy that is totally devoted to films from and about India. This year will be its 14th edition, starting from 6 to 12 December in Florence and 13-14 December in Rome, under the direction of Selvaggia Velo and the Patronage of the Embassy of 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.
