Mohit Suri’s Saiyaara emerged as the highest grossing romance film in the history of Indian cinema, and catapulted newcomers Ahaan Panday and Aneet Padda to overnight stardom.
As we wrap up 2025, he tells HT City he wasn’t anticipating these numbers, “You can never plan these things. No one goes out there saying ‘I want to make a blockbuster’, you just want to make a good film. For me, the numbers meant a great sense of validation. When I started off, very few people could believe a romantic film could do the kind of numbers it’s supposed to do. I wanted to make a film, in a world where everyone was making films about action, killings, which I too have done in the past. I wanted to be dramatically different, and if I wanted to stand out, I had to make a different film.”
Also read: Mohit Suri says even people who didn't believe in him later called Saiyaara their win: 'I remember telling my wife...'
The year itself has seen films of various genres work- from an actioner like Dhurandhar, to an animated film Mahavatar Narsimha. And Mohit applauds the same, “As a filmmaker, it was a brilliant year, because everyone who made a film, somewhere down the line, was standing alone when they started making it. It was not something everyone said was a sure shot hit! There were particular formulas people were tending to discuss, they were talking about sequels, and suddenly we saw all this. What was most healthy is that apart from a newcomer film doing well, we had mythological, devotional films doing well, a spiritual film like Kantara Chapter 1. You cannot pinpoint and say this year only one kind of film worked.”
{{/usCountry}}The year itself has seen films of various genres work- from an actioner like Dhurandhar, to an animated film Mahavatar Narsimha. And Mohit applauds the same, “As a filmmaker, it was a brilliant year, because everyone who made a film, somewhere down the line, was standing alone when they started making it. It was not something everyone said was a sure shot hit! There were particular formulas people were tending to discuss, they were talking about sequels, and suddenly we saw all this. What was most healthy is that apart from a newcomer film doing well, we had mythological, devotional films doing well, a spiritual film like Kantara Chapter 1. You cannot pinpoint and say this year only one kind of film worked.”
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