Pandit has produced and distributed Bollywood films such as Sarkar 3 (2018), Total Dhamaal (2019) and Missing (2018), and is known to be a good friend of Amitabh Bachchan

We thought, as an astute observer of cinema, veteran producer and distributor Anand Pandit would be an interesting choice to predict 2026’s cinematic landscape for us.

Pandit has produced and distributed Bollywood films such as Sarkar 3 (2018), Total Dhamaal (2019) and Missing (2018), and is known to be a good friend of Amitabh Bachchan. He has also produced a Gujarati film, Fakt Mahilao Maate (2022), that did well at the box office, apart from producing several other films, including The Big Bull (2021) and Chehre (2021).

Much before pan-Indian cinema became a buzzword, he was producing Hindi, Gujarati and Marathi films, and is now also backing Kannada and Punjabi productions while exploring other languages as well. At the cusp of the new year, he is expecting new shifts and also the continuation of some old trends in the industry. “I think the diversity of themes we saw in 2025 will continue to expand. I also hope to see the emergence of new directorial and writing voices. I envision filmmakers and studios adapting, innovating, and thriving in the new year,” he says.

While discussing thematic diversity, he also adds, “I have been following the trajectory of many independent films like Humans in the Loop and Homebound, which did well abroad but did not attract a lot of attention at home. I think, in 2026, the industry could strategise to support films with exceptional artistic merit because their success will not only benefit a new generation of makers but also expand the world’s perception of Indian cinema.”

Nostalgia will continue to draw audiences back to theatres, he says, adding, “So many classics have been doing well in theatres recently. Sholay’s restored 4K edition, titled The Final Cut, marked the end of December, and I think, in 2026 too, we should keep introducing this generation to the compelling magic of golden hits that have defined our cinema.”

He also believes the rise of regional cinema is unstoppable and the trend will continue to grow. “In my opinion, the barriers between regional and Hindi cinema have faded. Kantara, a Kannada film referencing an ancient ritual, has swept the box office across the country, and that tells us something, doesn’t it? We are now in an age where audiences are accepting stories that are culturally and linguistically unfamiliar because, at some level, they resonate with their beauty at a very deep level. My recent film, Chaniya Toli, broke records in Gujarat, but I am sure it can be enjoyed across India too because of its universality. Regional cinema is now pan-Indian in the truest sense, and local narratives told with authenticity will continue to outperform formula-driven content in 2026. Cinema is changing, but thankfully, it is changing for the better.”