Sony Pictures Entertainment India is lining up one of its most aggressive and deliberately diversified theatrical slates in recent memory for 2026, with a clear emphasis on franchise strength, filmmaker-driven originals, and a sustained year-long presence across genres and formats. The studio’s calendar is designed less like a traditional “event-heavy summer push” and more like a quarter-by-quarter occupation of the release corridor, ensuring Sony remains a constant theatrical player rather than a seasonal one.

The year opens decisively in January, signalling Sony’s intent to dominate the early calendar with genre-led event cinema. The studio launches with 28 Days Later: The Bone Temple on 16 January, a continuation of the universe created by Danny Boyle and Alex Garland but now reinterpreted by director Nia DaCosta. Headlined by Jodie Comer, Aaron Taylor-Johnson, Jack O’Connell, Alfie Williams, Ralph Fiennes and Edvin Ryding, the film pushes the franchise into darker thematic territory, reframing survival horror around the moral collapse of humanity rather than the infected themselves. The dual-language (English and Hindi) release underlines Sony’s confidence in the franchise’s reach beyond core genre audiences.

Just a week later, Sony pivots sharply into high-concept science fiction with Mercy (3D), directed by Timur Bekmambetov and starring Chris Pratt and Rebecca Ferguson. Positioned as a tense, real-time courtroom thriller set in the near future, the film hinges on a 90-minute countdown in which an AI judge must be convinced of a man’s innocence. The January pairing alone reflects Sony’s early-year strategy: prestige horror followed by commercial sci-fi, both mounted as theatrical experiences rather than streaming-adjacent titles.

February becomes one of Sony’s most densely packed months, reflecting a deliberate attempt to service multiple audience segments simultaneously. On 6 February, the studio brings Scarlet, a Japanese anime feature from Mamoru Hosoda, to Indian screens. The film blends medieval fantasy with time-bending emotional drama and reinforces Sony’s growing confidence in anime as a theatrical proposition. A week later, on 13 February, Sony executes a rare dual release: , an original animated sports action-comedy from Sony Pictures Animation, and Crime 101, a gritty Los Angeles–set crime thriller directed by Bart Layton and led by Chris Hemsworth, Mark Ruffalo and Halle Berry. The counter-programming here is telling — family animation on one hand, adult crime drama on the other — ensuring maximum footprint over the Valentine’s corridor.

March is reserved for scale. Project Hail Mary, releasing on 20 March in IMAX, positions itself as Sony’s first true four-language (English, Hindi, Tamil, Telugu) tentpole of the year. Directed by Phil Lord and Christopher Miller and starring Ryan Gosling and Sandra Hüller, the film leans into cerebral science fiction but is mounted as an emotional, large-format spectacle, reinforcing Sony’s commitment to premium formats rather than volume-driven releases.

After a measured pause in April, Sony returns in May and June with lighter, concept-driven titles. The Sheep Detectives arrives on 8 May, a darkly comic mystery once again directed by Lord and Miller, followed by Masters of the Universe on 5 June. The latter is one of Sony’s most overtly commercial plays of the year, with Travis Knight directing a large ensemble cast led by Nicholas Galitzine, Jared Leto, Idris Elba and Alison Brie. Released in four languages, the film is clearly positioned as a pan-India fantasy spectacle aimed squarely at younger audiences and franchise loyalists.

The studio’s most aggressive stretch begins in July, where Sony leans heavily into horror, disaster cinema and superhero IP. Shiver opens the month on 3 July, blending shark horror with extreme weather spectacle. On 24 July, Sony expands its horror footprint further with Evil Dead Burn, directed by Sébastien Vaniček, before shifting gears entirely with Spider-Man: Brand New Day on 31 July. Directed by Destin Daniel Cretton and starring Tom Holland, Zendaya and Sadie Sink, the film is Sony’s biggest mass-market event of the year, releasing in four languages and clearly anchoring the studio’s summer strategy.

August and September continue the genre momentum. An untitled Insidious sequel from Blumhouse arrives on 21 August, reinforcing Sony’s partnership-driven horror pipeline, followed by Resident Evil on 18 September. Directed by Zach Cregger, the film reimagines the franchise through a survival-horror lens, focusing on a courier trapped in an outbreak at a remote hospital — a setup that strongly favours tension over spectacle.

The final quarter shifts decisively toward prestige and franchise closure. The Social Reckoning, directed by Aaron Sorkin and releasing on 9 October, brings politically charged drama into Sony’s slate, examining whistleblowing within Facebook through the lens of an engineer and a reporter. This is followed on 6 November by Archangel, another Sorkin-directed project positioned as a muscular action drama. The year closes with Jumanji 3 in December, returning one of Sony’s most reliable global franchises to the big screen in IMAX, again releasing across four Indian languages.

What stands out is not just the volume but the calibrated rhythm of the slate. Sony is not betting the year on two or three oversized tentpoles; instead, it is spreading risk and reward across horror, animation, anime, sci-fi, superhero cinema and prestige drama. The multilingual strategy is consistent, premium formats are used selectively rather than indiscriminately, and genre films are clearly being treated as theatrical-first assets.

In short, Sony Pictures Entertainment India’s 2026 slate reads less like a content dump and more like a carefully sequenced exhibition strategy — one designed to keep the studio visible, relevant and commercially active across the theatrical year.

Late actor Irrfan Khan was last spotted in the movie “Angrezi Medium,” directed by none other than Homi Adajania, and the film hit the theaters a few days before his death. However, after all these years, new information has come to light about the excruciating physical pain the actor went through during the shooting of this movie. Costume designer Smriti Chauhan recently spoke about the poor health of the actor during the shooting of the movie.

In a recent episode of Unfolding Talents (UT) on the YouTube channel Digital Commentary, Smriti talked about Irrfan’s condition while shooting for the film. She remembered the star was constantly in pain and struggling physically but was determined to see the film through.

Irrfan had told Smriti that he was feeling very cold. He had demanded warmers from a specific company in London. However, despite dressing Irrfan heavily in warm clothes, the team had to do a lot of padding on his clothes as his body kept shrinking. This happened as a result of his illness. According to Smriti:

“He was very cold. He had demanded warmers from a specific company in London. However, despite dressing Irrfan heavily in warm clothes, the team had to do a lot of padding on his clothes as his body kept shrinking. This happened as a result of his illness. Smriti”

Further, Smriti shared, many shooting dates were cancelled because Irrfan was not in a position to work at all. There were times when, despite his best efforts, he couldn’t make it to the shoot because of the pain he was in. Even during the shoot, he used to need time to recover between takes, staying around family, who were always by his side during the shoot schedule.

She remembers that even the shoots set amidst the summer season were planned for with special care. Irrfan had worn vests lined with padding throughout his costumes so that he could keep himself warm. Talking about his determination, Smriti had been overcome with emotion when she said that it was as if Irrfan was convinced that acting was his only reason for living. “I think he was convinced that this is what I live for. and I wanna die doing this,” she said while adding that in many ways, he indeed did that.

Angrezi Medium is a film directed by Homi Adajania and features an array of actors including Radhika Madan, Kareena Kapoor Khan, Deepak Dobriyal, and Ranvir Shorey. It is a sequel to the 2017 blockbuster Hindi Medium and marked a heartfelt goodbye to an all-time star of Indian cinema.

Irfan Khan kick-started his acting career through television shows and made a debut in Mira Nair’s Salaam Bombay! in 1988. He has appeared in many acclaimed movies like ‘Maqbool,’ ‘Piku,’ ‘The Lunchbox,’ ‘Haider,’ ‘Life of Pi,’ ‘The Amazing Spider Man,’ and ‘Inferno.’ Irrfan diagnosed with a neuroendocrine tumour, revealed the truth in the year 2018.

Irrfan passed away in the year 2020, fighting a long battle with his illness. His spouse, Sutapa Sikdar, and his two sons, Babil Irrfan and Ayan Irrfan, survive him.

Palak Tiwari and Ibrahim Ali Khan are once again at the centre of social media chatter as they prepare to ring in the New Year together. On Saturday afternoon, the two young actors were spotted by paparazzi at the Mumbai airport, sparking fresh curiosity about the nature of their relationship. While neither has confirmed their travel destination, their joint appearance has reignited long-standing rumours that they may be more than just close friends.

A video that quickly went viral on social media platforms showed Ibrahim Ali Khan arriving at the airport in his car. Dressed casually, he was seen stepping out and walking briskly toward the airport entrance. Moments later, Palak Tiwari followed him, seemingly attempting to avoid attention by covering her face with a mask. Both actors appeared keen to dodge the cameras, refraining from posing for photographs and instead hurrying straight inside the terminal.

Their behaviour immediately caught the attention of netizens, many of whom took to the comments section to speculate about a possible romantic relationship. The fact that the two arrived together and avoided the paparazzi only added fuel to the ongoing rumours. While some fans expressed excitement at the possibility of the duo spending the New Year together, others pointed out that neither actor has ever publicly acknowledged being in a relationship.

Dating rumours involving Ibrahim Ali Khan and Palak Tiwari are not new. Speculation around the two first began in 2022 when they were photographed together on multiple occasions. Since then, their frequent public appearances—whether at parties, events or casual outings—have kept gossip mills buzzing. Despite repeated curiosity from fans and media alike, both actors have consistently maintained that they share nothing more than a friendship.

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Ibrahim Ali Khan, who made his Bollywood debut earlier this year, addressed the rumours in an interview with Filmfare. Dismissing the speculation, he said, “She’s a good friend. Yeah, she’s sweet. That’s all.” His brief yet clear statement was aimed at putting an end to the ongoing conjecture surrounding his personal life.

Palak Tiwari, best known for her breakout appearance in the hit music video Bijlee Bijlee, has also spoken openly about the rumours in the past. In an interview with Siddharth Kannan, she clarified that the narratives around her and Ibrahim had been blown out of proportion. According to Palak, the situation stemmed from a simple outing that was misinterpreted once paparazzi photos surfaced online.

“We were just out, and we got papped. It ends there. It’s just that,” she explained. Palak further added that they were not even alone at the time. “In fact, we were with a group of people. It wasn’t just us, but it got papped like that. It was the narrative that people liked the most, but that’s it.” She went on to describe Ibrahim as a “very sweet guy” and reiterated that the two are merely “nice friends” who talk occasionally.

Despite these clarifications, every public appearance by the duo continues to spark fresh speculation. Their airport sighting comes at a time when both actors are gaining visibility in the industry, making them frequent subjects of public interest. Ibrahim, the son of actors Saif Ali Khan and Amrita Singh, has been steadily carving his space in Bollywood, while Palak, daughter of television star Shweta Tiwari, is building her own career across music videos and films.

As 2026 approaches, fans remain eager to know whether the two are indeed travelling together to celebrate the New Year or if it is simply another coincidence that has caught public attention. Until either actor chooses to confirm or deny the rumours more definitively, speculation is likely to continue.

For now, Ibrahim Ali Khan and Palak Tiwari seem content letting their actions—and silence—do the talking. Whether they are close friends or something more, their airport appearance has certainly ensured that they remain a hot topic of discussion as the year draws to a close.

Janhvi Kapoor just achieved an important milestone in her acting career as she won the Best Actress award for her role in the movie Homebound. The victory was an honor and very emotional for the actress as the special moment was made even sweeter because of the words shared during the acceptance by the director of the movie, Neeraj Ghaywan.
As Janhvi climbed up the stage to receive her award, it could be noted that Neeraj was very open with his words as he expressed his admiration for Janhvi since she was the emotional center of their movie.

There were other actresses who were nominated for Janhvi’s role during the awards, including Malala Yus

Even moved by the performance, Neeraj Ghaywan thanked Janhvi for Homebound and added that without her, the film would not have been possible. When he received the National Award for Homebound with Janhvi, he said that he was “feeling so happy to see Janhvi receiving this award. It means a lot to me. Without you, this film would have been impossible.” Watching his niece receive the National Award also filled him with “sheer happiness.”

Janhvi, on the other hand, was extremely thankful to the filmmaker for believing in her, even when she was unable to find anything good in herself. “I’m extremely grateful to Neeraj Sir for seeing something in me that, on most days, I can’t see in myself,” Janhvi was seen saying in the acceptance speech. This statement of hers touched the hearts of everyone present there, and she referred to Neeraj Ghaywan as being the “national treasure” and “her favourite person.”

The actress also talked about one of the rare talents that the director possesses and that she villagers with great admiration. As Janahti explained, “One of the superpowers he has is that he makes people feel seen, which I think is a lost art in today’s day and age. And I hope that a piece of him is preserved forever.”

Homebound is an acclaimed Hindi drama released in 2025. This one is also written and directed by Neeraj Ghaywan and is also his long-awaited follow-up to ‘Masaan’. The plot revolves around two best friends from a small village whose joint ambition to become cops unlocks gripping elements such as friendship, caste, and struggles of oppressed classes in contemporary India.

Homebound, created under the banner of Dharma Productions, proudly exhibits a talented pool of producers such as Karan Johar, Adar Poonawalla, Apoorva Mehta, Somen Mishra, and Vipin Agnihotri, along with the renowned Martin Scorsese as its executive producer. Featuring Ishaan Khatter, Vishal Jethwa, and Janhvi Kapoor in major roles, the movie received immense acclaim for its performances as well as its emotional depth, which has been rightfully justified by Janhvi Kapoor’s award.

Sara Ali Khan, an actress, has talked openly about one of the most challenging times that her family experienced early this year – an attack on her father, actor Saif Ali Khan, with knives. Sara Ali Khan opened up on how they managed to go through this testing time in their lives through strength, dignity, and grace.

Sara was featured with her grandmother, legendary actress Sharmila Tagore, on Soha Ali Khan’s podcast All About Her. When asked by Soha what all these years have taught them about each other, Sara’s answer was truly moving and came from her heart, touching upon the lessons that she pulls from her family.

“I have realized that dignity and grace are above all, even in tough times,” Sara declared. The family, she continued, experienced a tough time in the beginning of the year following the incident involving her father. She referred to Saif lovingly as “abba” and recognized how this incident further made the family members close.

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This incident took place in January, during which Saif Ali Khan was reportedly assaulted by a intruder in his Mumbai house during a robbery attempt. Saif was left with various stab wounds on his back and arm, following which he was immediately hospitalized and operated upon. Thankfully, Saif has fully recovered, but this incident has left a long-lasting effect on his family.

Sara went on to speak about the grace that her own grandmother, Sharmila Tagore, showed in the time of crisis. She stated:
“I remember my mother giving me a lot of stories about the time when she was in a personal crisis. She told me about the influence of Badhaai Ho on our home. But watching my ammi in the midst of all this crisis in our home was something which left a deep impression on me. Badhi ammi is very dignified, and I truly aspire to

On the professional side, Sara Ali Khan was last seen in Metro. In Dino. This movie is directed by the talented Anurag Basu. This movie is a continuation of his 2007 movie Life in a. Metro. It casts a star-studded ensemble that comprises the likes of Anupam Kher, Neena Gupta, Konkona Sen Sharma, Pankaj Tripathi, Aditya Roy Kapur, Ali Fazal, Fatima Sana Shaikh, and Sara Ali Khan.

The movie sets against the setting of urban India, intermingling various stories of love in today’s time, related to loneliness, emotions, and human touch. The title of the movie again takes inspiration from the famous song named In Dino of the same film. Looking ahead, Sara is set to appear in her next project, “Pati Patni Aur Woh Do,” where she will play lead roles alongside other popular actors such as Ayushmann Khurrana, Rakul Preet Singh, and Wamiqa Gabbi

The journey to lasting success in the entertainment industry is rarely easy, and Shehnaaz Gill knows this better than most. From her rise as a television and reality-show favourite to her ongoing struggle to carve meaningful space in films, Shehnaaz’s path has been filled with emotional challenges, professional uncertainty, and hard-earned self-awareness. In a recent interaction, the actor spoke with striking honesty about resilience, exploitation, and the unseen battles artists fight behind closed doors.

Shehnaaz was speaking to Zoom during a live audience interaction when an emotional moment unfolded on stage. A young woman, a junior artist, broke down while sharing her experiences of repeated exploitation in the industry. Deeply moved, Shehnaaz paused the event to comfort her — and in doing so, revealed how personal the situation felt to her.

Admitting that she, too, struggles silently, Shehnaaz shared that she chooses not to display her pain publicly. Offering advice to the distressed fan, she urged her to stay strong and stand up for herself. She explained that while people may appear happy on the outside, including actors, many are hurting internally but hide it to avoid judgment and trolling in a public life.

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Shehnaaz didn’t soften her words when describing the reality of the industry. Calling it “kalyug,” she warned that showing vulnerability can sometimes invite exploitation. Drawing from personal experience, she said that people often take advantage of visible weakness and that maintaining emotional strength is crucial for survival in a competitive environment.

In another recent conversation with Faridoon Shahryar, Shehnaaz opened up about a lesser-known struggle — the lack of meaningful roles despite widespread recognition. She candidly admitted that while she continues to receive offers, many projects lack originality or depth. “I feel like I am being used as a prop in films,” she said, adding that she refuses to accept roles that don’t offer impact or substance.

She also addressed her absence from Punjabi cinema, despite receiving offers consistently over the last five years. According to Shehnaaz, she chose to wait for a project with a fresh concept that could mark a powerful comeback. For her, even limited screen time must leave a lasting impression.

Emphasising substance over visibility, Shehnaaz explained that chasing Bollywood blindly was never her goal. She believes in first proving her credibility as an actor, whether in Punjabi cinema or Hindi films. While she continues to audition and work hard, she finds comfort in the fact that audiences are finally noticing her growth — not just as a star, but as a serious performer