By Vinay Mishra Delhi: 28 March 2026, Day 3 of the International Film Festival of Delhi (IFFD) 2026 unfolded with a sense of momentum that was impossible to miss. Auditoriums remained full, conversations extended beyond their scheduled time, and audiences transitioned between screenings and sessions with the vibrant energy characteristic of a festival in full swing. What stood out was the balance of rigorous industry dialogue on the one hand and emotionally resonant cinema on the other, both feeding into each other throughout the day.
The CineXchange Dialogues opened with a sharp, forward-looking conversation on the changing trends of film distribution in India. Sanjay Ram, Anil Thadani, GP Vijayakumar and Gayathiri Guliani mapped the shifting terrain where theatrical, OTT, and hybrid models now coexist. The discussion moved beyond surface-level observations, touching on risk recalibration, regional market expansion, and the growing importance of targeted release strategies in a fragmented viewing ecosystem. Distribution today is no longer a backend function; it is central to how films are imagined, positioned, and experienced.
The focus then shifted to independent cinema, with filmmaker and moderator Vinta Nanda leading a conversation on funding, distribution, and sustainability, featuring Aranya Sahay, Tanmaya Shekhar, Molshri, Barnali Ray Shukla, Pubali Chaudhuri and Dimple Dugar. The discussion highlighted the need for collaboration and alternative pathways for independent filmmaking.
One of the most closely followed sessions of the day, ‘Made in Korea: From Seoul to South Asia’, brought a global lens to the dialogue. Moderated by Puja Talwar, with Ra Karthik, Sagar Pentela, Priyanka Mohan, Hojin Noh, Tae Keun Song and Hyojin Lee in conversation, the session unpacked the growing synergy between Korean and South Asian industries. The discussion moved fluidly between craft and commerce, from production ecosystems and training frameworks to the rising appetite for culturally rooted yet globally accessible stories. The idea of collaboration here felt immediate and actionable, not aspirational, signalling a shift in how regional industries are beginning to think beyond borders.
The day, however, found its emotional and creative peak in Piyush Mishra’s masterclass, ‘Kahani, Kavita Aur Cinema’, moderated by Mayank Shekhar. More than a session, it unfolded as a deeply personal reflection on the many lives of an artist who has consistently refused to fit into a single box.
A rare voice in Indian storytelling, Mishra’s work bridges theatre, cinema, and music, often carrying a political edge while remaining deeply personal. Reflecting on his journey, he said, “I thought I had arrived too early at NSD, and that arrogance cost me years. Everything I've learned as an artist is largely self-taught and has come from unlearning it. Pain is necessary for an artist; without it, nothing real comes out.”
He spoke about his formative years in Delhi’s Mandi House, describing it as chaotic yet generative, a space where his artistic instincts took shape. His time at the National School of Drama brought early recognition, but also, as he admitted, a phase of overconfidence that slowed his growth. From apolitically charged work like Gagan Damama Bajiyo, his theatre years continue to anchor his artistic identity.
The session moved fluidly between reflection and performance, with Mishra reciting poetry and drawing connections between verse and cinema. Closing on a high, he broke into Aarambh Hai Prachand, turning the room into a shared moment of energy and recall. It was a masterclass that went beyond craft, offering an unfiltered insight into an artist shaped by memory, conflict, and constant reinvention.
Running parallel to these conversations, the film programme sustained a steady, enthusiastic turnout.
At Bharat Mandapam, Gondhaal opened the day with its unsettling psychological narrative, setting a strong tone, with director Santhosh Davakhar and actors Ishita Deshmukh and Diksha Davakhar present for the screening. Ilo Ilo, introduced by director Anthony Chen, drew audiences into its quiet, deeply human storytelling.
Adding to the day’s highlights, Dastaan-e Gurudutt emerged as a key cultural moment within the festival’s programming, drawing attention for its tribute to one of Indian cinema’s most iconic filmmakers. The presentation brought audiences closer to the legacy of Guru Dutt, blending narrative, performance, and nostalgia in a way that resonated strongly with festival attendees.
By evening, Rang De Basanti emerged as a clear crowd favourite, playing to a houseful auditorium, with Rakeysh Omprakash Mehra’s presence amplifying the already electric atmosphere. The packed screening reflected the film’s enduring resonance, as audiences responded with the same intensity and engagement that has followed it over the years. The late-night screening of Dear Maa, with Aniruddha Roy Chowdhury and Bickram Ghosh in attendance, closed the slate on a reflective note, anchoring the day in themes of memory, loss, and identity.
Screenings carried their own momentum through the day. Last Film Show – Chhello Show, introduced by Pan Nalin, received a warm and engaged response, especially from younger viewers drawn to its love for cinema itself. Su From So continued the exploration of rooted storytelling, while Roja, presented in the presence of Madhoo Shah and Kandaswamy, brought a wave of nostalgia and emotional intensity to the evening lineup. The day concluded with 45, as director Arjun Janya engaged with audiences on the film’s layered take on fate and morality.
Beyond Bharat Mandapam, the festival extended across multiple venues in the city, with screenings at PVR locations in Saket, Jasola, Dwarka and Vasant Kunj bringing a wider slate to the audience. Films such as Phouoibee (The Goddess of Paddy), Magazine, and Whispers of the Mountain reflected the diversity of regional and international storytelling on offer.
Across venues, the through-line remained consistent: strong audience turnout, active participation, and a sense that the festival was as much about dialogue as it was about viewing.
Looking ahead, IFFD 2026 is set to carry this momentum forward with a highly anticipated lineup of sessions and special presentations. Alongside marquee names such as Shekhar Kapur and Guneet Monga, expected to draw strong engagement, as audiences look forward to deeper, more immersive storytelling experiences. With excitement building across venues, the festival now moves into its final stretch on a high, with much to look forward to.
By the time the day wrapped, IFFD 2026 had firmly established its rhythm, one where conversations spill into screenings, and films spark further dialogue, leaving behind a clear sense of anticipation as the festival moves into its final stretch.
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