Get ready to be thrust into the world of Ramayana: Rise Of A Legend the next time you’re in a theatre. A two-minute-26-second trailer of the movie’s 3D version was cleared by the Central Board of Film Certification (CBFC) on October 15 and will play in cinemas from next week before the Ranbir Kapoor, Sai Pallavi, and Yash-starrer arrives on November 5.

A source close to the development revealed, “The 3D version is an important part of filmmaker Nitesh Tiwari’s vision, and particularly the film’s global strategy. The idea is to give audiences an experience that makes them want to watch the movie on the big screen. The IMAX format will be a key part of that push. In terms of release, the makers are targeting more than 50,000 screens in international markets and approximately 9000 screens in India.”

The international ambition of Ramayana: Rise Of A Legend has been evident with the makers roping in renowned composer.

Hans Zimmer, taking the epic to San Diego Comic-Con earlier this year, and recent news emerged that the film will be released in 40 languages.

A trade source said, “The focus is on how the film is presented to audiences internationally. The 3D experience will play a significant role there.”

Gadar: Ek Prem Katha (2001) and Gadar 2 (2023) have shown filmmaker Anil Sharma’s penchant for big-scale entertainers. The director is taking the same route with his next, Arjun Naga, which stars his son Utkarsh Sharma in the titular role and Arjun Rampal as the antagonist. Now, Randeep Hooda and Celina Jaitly have joined the period drama that will be made in four parts. At the centre of the offerings is the dramatisation of the 1966 oil rush of Dubai.

For the emirate, 1966 was a turning point as oil was discovered in the Fateh field, transforming the modest trading and fishing port into a global economic powerhouse. We’ve heard Arjun Naga will begin in the early 1960s.

A source said, “The story will begin when Dubai was still a small fishing and trading centre with dusty roads and simple homes. It will capture how an oil exploration concession was given to the Continental Oil Company in 1963, leading to years of drilling before oil was discovered. Arjun Naga will explore the fictional characters’ power dynamics against the emirate’s changing landscape and how their fortunes turned with the oil rush. Utkarsh’s character will rise from extreme poverty to become one of the richest men in Dubai.”

Currently being shot in Film City, Mumbai, the first instalment is expected to be wrapped by March 2027.

When mid-day reached out to Sharma, he confirmed the development, saying, “Arjun Naga is about Dubai’s oil rush in the 1960s. We are making the film in four parts, and it will have 10-12 top actors in pivotal roles spread across these instalments. The title will change with each part. We will shoot in Mumbai, Rajasthan, other parts of India, Dubai, and other international cities.”

For Aditi Rao Hydari and Siddharth, marriage is as much about the little things as it is about the big romantic moments. Whether it is the comfort of returning home to each other after a long day or finding joy in the most mundane moments, the actors seem to have found a rhythm that works for them. The couple, who tied the knot in 2024, say they continue to make time for each other despite their demanding professional commitments. They believe this comes down to mutual understanding, careful planning and respecting each other’s individuality.

Siddharth describes Aditi as someone who brings both kindness and a healthy dose of honesty to their relationship.

“Aditi is a very giving partner. She’s also caring and kind. At the same time, she’s a taskmaster because she teaches me every day how many different ways I can be a better person. We really enjoy coming back home to each other at the end of the day, and that’s one of the most reassuring feelings for me as an individual,” he says.

For Aditi, it is Siddharth’s ability to be present and bring a sense of playfulness to everyday life that makes their bond special. “Siddharth is always very present. He listens, he is sensitive, and there is a lightness and playfulness that he brings to even the most mundane moments. We are similar in our intentions and soul energy, but we have our own ways of doing things and our different rhythms also have a synchronicity that is as thrilling as it is comforting,” she says, adding, “Siddharth’s priorities are very clear and he is expressive with his love and support. Whether on set or off it, the feeling of love and butterflies is a constant.”

With both actors committed to their respective careers, balancing work and personal life requires conscious effort. While marriage has not changed Siddharth’s approach to work, it has influenced how he plans his life beyond it. “I approach work the way I’ve taught myself to approach work, and that’s something I’ve been doing for more than half of my life. I don’t think that will change post-marriage. But it helps you plan the life that you want to live outside of work. And then you have a person that you chose for the reasons of both companionship and living life to the fullest. So that’s definitely a change now,” he says.

The actress who recently shot for Indriya's festive campaign with Siddharth believes that respecting each other’s professional choices is key to making their partnership work. "We have always respected each other’s individual ambitions, choices and careers, and that will always be. Our schedules can be hectic, so there is a lot of planning around travel, work and time apart. It takes effort to make things feel effortless, and to value, prioritise and respect each other’s perspective,” she says.

And while adulting is part of the deal, the couple is in no hurry to leave behind their playful side. “We have to at times take turns to adult, because never grow up is our most natural way of being!” she adds.

In 2026, a film which has debunked many myths around Hindi cinema is Hanuman Ansh. Myths such as increasing aversion among audiences to watch films in theatres, only stars can pull audiences to theatres and small films can not get space in theatres have been broken by the film. Made on a modest budget of less than Rs. 3 crore, the film collected close to Rs. 340 crore (net collection) at the box office (the film is still running in theatres).

ET spoke with one of the producers of the film Namrata G Singh tounderstand the story behind the making of this great blockbuster.

One of the favourite expressions of Singh is Intellectual Property (IP). This expression does not seem out of context or radical. It is in sync with times. IP does not just mean business control. It means creative control. It means preserving the purity of a vision and achieving it. The underlying current throughout the conversation is she is particularly focused on preserving the purity and sanctity of her approach to her creative ventures.

Singh is one of the biggest proponents of adapting, sharing and spreading the Indian experience to the world. This is because this is where lies the foundation of her personality. She wants to share Indian stories rooted in spirituality and the wisdom contained in it. In this interview, Singh also explains how the Genz audiences view spirituality in today’s uncertain times. She also shares how she along with her collaborators overcame the challenges involved in making Hanuman Ansh. Edited excerpts:

SacredIP Trans Media Tech aims to take Indian cultural stories to audiences around the world. I grew up reading Amar Chitra Katha comics and spiritual books published by Gita Press. I also once ran a comic-book company called Division 91. My inspiration comes less from the West and more from our own stories, cultural milieu and emotional vocabulary. All of these are reflected in the Navarasas.

The question for me has always been how to take these stories to a global audience. A story can be told through cinema, animation or any other format. Since 2017, I have been actively exploring how to build and reimagine businesses around Indian stories for the global market. My role is to protect intellectual properties (IPs), nurture them, and keep them relevant across formats and generations. I believe Indian stories are global assets. We have a responsibility to keep them alive for successive generations.

Some of the early IPs I developed included The Sufi Route. I collaborated with music director A. R. Rahman and Shital Bhatia of Friday Filmworks on the IP. Launched in 2017, these were music and event-based IPs. Building intellectual property has been a key thing for me. I worked in various capacities in big media and entertainment companies such as YRF and Sony. These experiences taught me how to develop and own an IP.

My approach is rooted in the belief that creative works require an understanding of emotion and psychology. Owning IP allows you to carry a particular sensibility to audiences across generations. Regardless of a consumer’s age, you must think long-term. You must consider how a story can evolve across different formats. This is an approach found greater visibility in the success of Hanuman Ansh.

I have been a devotee of Neem Karoli Maharaj. Even our film’s director Vishal Chaturvedi is Neem Karoli Maharaj’s devotee. So, our shared devotion to Maharaj ji was the driving force behind the film. Vishal has been Maharaj ji’s devotee for twenty years. I have been a devotee for fourteen years. On my birthday last year, we realized that Maharaj Ji was a common thread between us. We simply asked ourselves what we could do. Then, we mutually decided to tell Maharaj ji’s story. We did not initially decide to make a film.

As we explored the idea, we realized that Maharaj Ji was such a cosmic, larger-than-life figure that cinema was a natural medium for telling his story. We also felt that his story was, in essence, a Ram Katha. It should first reach devotees who could experience it together in groups. These were instinctive and deeply human decisions. At every stage, our intention was to do justice to the story and share it with people. We were guided by that purpose and not by an industry report, an Excel sheet or a numerical model.

We intended to tell a small story and take it to people who love Maharaj ji. In our minds, it was a relatively modest undertaking. However, the process of bringing it to life was extremely difficult. One of the biggest challenges was the production and financing structure. We received what I would call ‘slave contracts’ from prospective co-producers. We were looking for funding. Contracts offered to us were structured as co-production agreements rather than intellectual property (IP) agreements. The industry people do not have sufficient understanding of IP ownership in the way we were trying to approach it. So, I kept asserting that I was an IP owner and that my co-founder, Swambu, owned the IP associated with Hanuman Ansh. This included authorship, ownership and the broader structure required to protect the property. We were offered co-production agreements in which we were expected to effectively give away our rights for a relatively small amount.

These arrangements did not consider the sensitivity of our story, the need to protect its creative integrity, or the emotional and psychological connection to the lived reality of Maharaj ji. I realised that although we often describe ourselves as creative people, we are essentially operating in a trading environment. For authentic storytellers, this transactional mentality can be deeply disappointing. It takes a toll because you are trying to tell a story in a particular way but the people negotiating with you do not necessarily understand or respect that intention.

Vishal and I, as co-founders, understood the film and its sensibilities best. However, our understanding was not given the required importance. This is because Vishal had not directed a film before. Even I had no experience in producing a film. We secured financing through two individuals who also came on board as producers. Ragini Sona supported the production. Anupriya A Nagar, the daughter of the UK-based financier Anshul Nagar, financed the post-production. Their support was important. Today, the film’s IP is fully secured by us.

Yes, we are now expanding the property into other formats. We are working with influencer-investor Vishal Gondal, who built fitness technology company GOQii, on a game called Hanuman Kavach. Vishal is also a Hanuman bhakt. We are developing accessibility features so that the film can be experienced by people who are deaf or hard of hearing. We are also working on different language versions. We do not yet have an English version. We would also like to develop a Sanskrit version of the film. There are also discussions around the animated version of the film. We are also thinking about the live music of the film. These things were possible because we never approached the film as a project. We saw it as an intellectual property through which Maharaj ji’s energy could be carried across formats and age groups. Our responsibility is to preserve that essence. If we can keep it intact, everything else will take care of itself.

Holi Cow Home Productions is Vishal's (the film’s director Vishal Chaturvedi) company. It is one of the production companies which produced Hanuman Ansh apart from Swambhu Media Network. Swambhu Media Network was founded by Vishal and I. Swambhu Media Network owns the Hanuman Ansh IP. The ownership and authorship of Hanuman Ansh reside within a private limited company because we always envisioned this as a long-term undertaking.

We created this film because we believed there was no other story in the world that explored Maharaj ji's childhood in this way. We understood that it would be a slow burn. We knew audiences will discover the film over time. Even if the film were made available on YouTube across many languages, it could generate revenue over a lifetime. Most people do not think that far ahead. However, for us, this film enterprise was never simply about money. If I want someone in Korea to watch the film, they should be able to watch it dubbed in Korean. Since we did not have the resources upfront, we had to plan for the long term. Many of our decisions were shaped by those constraints.

So far, most of the revenues have gone to distributors and exhibitors. We have yet to explore OTT, satellite television and other distribution avenues. But we were always clear that this was a timeless film that people would continue to watch digitally for generations, across languages and cultural contexts. Our responsibility is to make it accessible to them. Theatrical release was the first step. The non-theatrical distribution will be the second. We also intend to explore different language versions. Besides this, we also intend to explore digital distribution through subscription-based and transactional video-on-demand models.

Yes. Today, a fundamental question for us is: Why should content creators always depend on platforms and intermediaries rather than develop direct-to-audience models?

Therefore, group viewing is another possibility we are exploring for a film like this. All these possibilities were part of the film's DNA because we approached it through the lens of intellectual property (IPs) and not merely as a film. The film was the first step.

We also want to collaborate with some of the best talent in the world. We intend to collaborate with best animators, game designers, non-theatrical technology specialists and direct-to-audience experts. Each of these represents a distinct area of work. For instance, artificial intelligence has not yet been developed with an understanding of the Navarasas and their application to Indian storytelling. Much of the existing AI ecosystem has been shaped by Western perspectives. We lack sufficiently Indianised AI systems that can understand and work with these emotional frameworks. We want to explore this in the context of our film.

If we are talking about an Indian film rooted in our identity and taking stories of our saints to audiences around the world, we should be thinking on a much larger scale and for the long-term. Traders tend to look at a five-to-ten-year horizon rather than in terms of perpetuity, legacy and long-term value of intellectual property.

One of the film’s producers Ragini Sona is Vishal’s friend. They have known each for a long time. They used to recite the Hanuman Chalisa together as part of a Hanuman club they ran. So, when we needed funding, Vishal approached her. She is an experienced producer. Her insights were valuable. When nobody else was willing to invest, Ragini offered to contribute Rs. 50 lakh on the condition that someone else matched the amount. When no one came forward, I invested Rs. 50 lakh from my mutual fund savings. That is how we managed to complete production.

We needed additional funding for post-production. That is when Anupriya Nagar came on board as an investor.

We had a shareholders' agreement. The arrangement was structured around the four of us with each holding a 25% share in the IP along with a three-year lock-in period and other agreed terms.

The film was made at a total cost of Rs 1.7 crore. Haldiram provided Rs 1.25 crore towards prints and advertising (P&A) as part of the co-production arrangement. Of the P&A budget, we spent approximately Rs. 65–70 lakh on marketing with the remaining amount going towards the release. We wanted to ensure that the film remained in theatres for three weeks, which involved an additional expenditure of over Rs. 40 lakh. The overall expenditure, including production and P&A, was approximately Rs. 2.95 crore or close to Rs. 3 crore.

One of the biggest challenges in telling Maharaj ji’s story is how to portray his leelas. How do you represent these experiences without reducing them to miracles? We wanted to avoid presenting the story simply through the lens of miracles. For us, it is fundamentally about faith. The film has clearly been made with conviction, faith and good intentions. It does not feel as though it was created to cash in on or exploit someone else’s faith. That sincerity comes through.

When we set out to make the film, we had one simple principle: Maharaj ji’s story could only be told through the experiences of his devotees. The nine stories in the film are real. We brought them together within a particular narrative structure and gave the film a central idea.

The film’s central idea is an exploration of the Hanuman Chalisa and its Ashta Siddhis (eight powers). We were telling the story of a man who became a saint over time while remaining a grihastha saint. These were our guiding principles: the Ashta Siddhis, the interpretation of the Hanuman Chalisa, his identity as a householder saint, and his journey from the age of 11 until 1942. We had conceived the project as a trilogy from the beginning. The first film tells this part of his journey, the second was intended to explore Kainchi, and the third would focus on a foreign devotee. Ultimately, you are telling a story that you have lived. I could not make a compelling film about Guru’s love if I did not have personal experiences.

Our primary focus was the bhaav or the underlying emotion and essence. His personality emerged well through the storytelling. He is not portrayed to be a perfect man. He is as flawed as any of us. He left home after his mother’s death. He discovered his sanskaras. He became a saint. And then, he married, had children, served as the mukhiya of his village, and built 108 temples during his lifetime. He undertook significant work in the external world. In his internal world, his life remained centred on the constant chant of “Ram Ram,” Ultimately, we wanted to draw attention to that inner experience—to what is happening within him as a person.

For me, storytelling is an act of transferring empathy. That transfer becomes difficult when you have not experienced or understood the reality you are trying to portray. This is also why I see the film as an intellectual property rather than merely a film. I cannot sell my sensibility. I can curate it, protect it and bring it into the world through different forms of storytelling.

Vishal and I are fortunate that we lead relatively simple lives and do not place too much importance on status or material possessions. That gives us the freedom to make certain choices. Once you become preoccupied with money and status, your cost of living rises, and you may begin making compromises that are not true to your work or your larger body of work.

What people may not fully recognise when they assess the film is how the film beautifully marries emotional quality with artistic and technical elements. The bhaava (rasa or emotion) we have drawn upon is Shanta Rasa (the film’s dominant emotional experience: Peace). One experiences peace and tranquillity when one watches the film. These qualities are increasingly absent from today’s world. The feeling of peace that the film evokes can be powerful precisely because it is so uncommon. People have experienced Shanti (peace) through the film.

Our response and approach naturally reflect our devotion towards Maharaj ji. Even though I am excited about the possibility of making a trilogy around Maharaj ji, it is not the sentiment that governs our intentions. We made this film with a particular vow and intention. I want to preserve that spirit. Ultimately, we cannot allow these conversations to become transactional or exploitative. Figures such as Maharaj Ji and other saints are not commodities. These are matters of values and responsibility. As storytellers, we are not merely creating content. We are also infusing values through the stories we choose to tell.

I didn't convince them. We showed the film to only two people before its release: Anil Thadani (one of the biggest film distributors in India) and Mayank Shroff (head, film programming from Cinepolis). Ultimately, we chose Cinepolis because the terms they offered made the most sense for us.

Vishal and I had initially imagined it as a small film intended primarily for tier-2 and tier-3 cities and rural India. We were not looking to release it exclusively in expensive cinemas. We wanted people to be able to watch it in smaller theatres with tickets priced at around Rs. 100 without feeling that they needed to belong to a particular economic class or dress a certain way to enter a cinema.

Cinepolis had a presence in the kinds of locations we wanted to reach. This was an important consideration. Our devotees come from different economic backgrounds. We did not want the cost of a ticket or the environment of a cinema to become a barrier in their experience of the film. We wanted to create a space where they could recite the Hanuman Chalisa and keep Maharaj Ji on a seat as a mark of devotion. We felt that Cinepolis understood and respected that sensibility.

Even PVR has been one of our strongest supporters. PVR's CSR division subsequently supported us by providing discounted tickets and food for underprivileged children, including children with cancer. We remain grateful for that support.

Apart from the film’s merits, we also benefited from the fact that Mayank is a fellow devotee of Maharaj ji. We didn't really have to sell it.

I do not necessarily see this as a return to our roots. We need to understand that today there are three generations living alongside one another. Also, nearly 70% of India’s population is below the age of 30. Today, we are consuming spirituality through our phones. Earlier, one would get spiritual knowledge or understanding primarily through a temple visit, a book, a religious scholar or the wisdom passed down by our grandparents.

For younger people, this accessibility can spark curiosity and encourage them to explore these subjects more deeply. They do not necessarily accept every subjective experience at face value. They look for objectivity within subjectivity. Spirituality is inherently subjective. The sheer volume of information now available allows people to explore the relationship between science and spirituality.

I often describe the three generations in this way: our parents were thinkers and doers; we are thinker-doers; and the generation after us is a generation of imagination. I believe this younger generation is increasingly drawn to India's eternal beings: deities, spiritual teachers, gurus or saints.

Yes. Today, I think the pursuit of external markers of success—whether becoming a CEO, a footballer or achieving fame and wealth—is not necessarily bringing people peace. Many are experiencing anxiety, depression and other mental health challenges. They are beginning to question whether these conventional aspirations can provide the fulfilment they seek. This generation is therefore realigning itself with fundamental human values. The stories that resonate with them increasingly revolve around human endeavours. Cinema, which once focused on narratives at the scale of entire population, is now also exploring stories at a deeply human level.

Maharaj ji's story is an example of this kind of connection. It allows people to engage with his life and experiences at a personal level. The story has a global relevance because its appeal is human rather than geographically or culturally restricted. Not everyone can travel to Vrindavan or live in a temple town, so people are looking for other ways to experience spirituality and connect with these traditions.

I believe this generation is increasingly interested in contributing to society rather than pursuing only individual success. They have grown up with relatively greater access to basic needs such as food, clothing and shelter. Many are now asking what they can do with the opportunities available to them. If they choose to pursue something, they want it to have meaning. Today’s young generation is a generation of imagination. They are increasingly drawn to human endeavour and fundamental values. There is a common thread that connects us all: we are looking for peace of mind, meaning and purpose. I think this explains the growing interest among younger people in practices such as bhajan clubbing. We have grown up listening to kirtans and attending Satsangs, but this generation is finding its own way of engaging with these traditions.

I disagree with the idea that people turn to spirituality only when they are broken or looking for solace or an escape from their problems. I think that is a limited understanding of spirituality. Spiritual practices and rituals offer us a moment to pause in a world where we are constantly bombarded with information. Our minds are burdened by cognitive overload.

When you stand in a temple or participate in bhajan clubbing, your senses align with something deeper and greater than yourself. There is a certain loss of the individual self as you move from an ‘I’ to a ‘we’. That experience can make you feel good because it connects you to a shared sense of humanity. Any sensory experience that brings you closer to that common humanity is good for the soul. It reminds you that you are not merely a human being but a spiritual being having a human experience.

Our spiritual traditions are deeply rooted in respecting people for who they are rather than expecting everyone to be alike. We are not meant to be cookie-cutter versions of one another. The current young generation is discerning. This generation can see through performance, pretence and public relations. If you offer young people something genuinely positive, they will recognize its value and embrace it. They do not necessarily need to be experiencing a problem to appreciate what spirituality has to offer. We should give this generation credit for its ability to distinguish what is meaningful from what is merely performative. Ultimately, much of the film’s success can be attributed to the growing word-of-mouth communications and recommendations.

The Tamil, JAILER 2, which is a sequel to JAILER (2023), has had a superb first day as it records first day collections around the 55 crore nett mark including around 3 crore nett for the dubbed version named RAJINI: THE JAILER 2. RAJINI: THE JAILER (2023) did not do well as it got a limited release as it clashed with GADAR 2 and OMG 2. But the film found some appreciation post release which has led to decent result in Hindi. The film has not released in the main chains but considering the Telugu dubbed film THE PARADISE did over 2 crore nett a few weeks back, a 3 crore nett total was always on for RAJINI: THE JAILER 2.

JAILER 2 is the third highest opening ever for a Tamil film after COOLIE (2025) and LEO (2023) and has seen very good collections in all the South markets though Tamil Nadu at around 17-18 crore nett could have been better. Nizam/Andhra, Karnataka and Kerala are very good for a Tamil film as the Rajinikanth factor will be in play here. The last Rajinikanth film, COOLIE, faded after the huge start and the hope here will be to repeat the success of JAILER (2023) which till date is the highest grossing Tamil film in India outside 2.0. However, that is mainly because 2.0 saw big success in Hindi.

The new Hindi films, NAYYI NAVELLI and PRAHAAR, have not opened well though when that big drop from DRISHYAM THE CONCLUSION came on Sunday, it spelt bad news for these films as business was going to be down. NAYYI NAVELLI should have opened better but the campaign never made it look like a horror film. Yet, it has an outside chance of 4 crore nett which would be decent first day result if it can get there.

PRAHAAR is less than NAYYI NAVELLI but seems more of a television film and is the type of film which depends heavily on Saturday and the weekdays.

HANUMAN ANSH has taken its worldwide figure to over 425 crore as it goes into completing ten weeks in India. The tenth week collection will be the highest ever seen. The film had a late start in overseas and that will be going into week six from Friday. The overseas business in United Kingdom and Gulf should have been better considering the other markets in Overseas and India business but a heavy Muslim cinema going audience in these parts has probably come in the way.

Gulf is still pretty decent while United Kingdom is low but when considering the size and cost of the film, then even the numbers from these markets becomes good. The film has done fantastic in USA with the bulk of the overseas business coming from this circuit. The film should manage to run in India till Diwali and so, it could end up with a final worldwide total of 435 crore.

On the final count, the worldwide business is going to be more than big budget films like BRAHMASTRA and DUNKI and that includes the former on all versions.

The worldwide collections of HANUMAN ANSH till date are as follows.

India -  379 crore (315 crore nett)

Overseas -  48 crore ($5 million)

DRISHYAM THE CONCLUSION had an excellent second weekend of 63 crore nett but the first day of Navratri came in the way on Sunday which hit the business of not just this film but all films playing. However, DRISHYAM THE CONCLUSION was hit hardest due to its high level of collections.

The biggest hit on Navratri is in the beginning and at the end but with the film being hit for 5-6 crore nett on the Sunday alone means that the 400 crore nett mark will be hard for the film. It will probably have to settle for around 375 crore nett plus which is still outstanding. The drop over the weekend from the first weekend is 64% and you expect the week to be similar or a maybe a little better which means the film will not do 100 crore nett in week two.

The total collections of the film have crossed 300 crore nett and stand at 302 crore nett. Mumbai cicuit is at a huge 110 crore nett plus while Delhi/UP will be hit the 70 crore nett mark today. The film is the highest grosser for Ajay Devgn in India and Overseas but it still has some work to do to become his biggest film in Mumbai circuit.

The collections of DRISHYAM THE CONCLUSION till date are as follows.

Friday - 62,50,00,000 apprx

Saturday - 51,00,00,000 apprx

Sunday - 59,00,00,000 apprx

Monday - 20,00,00,000 apprx

Tuesday 19,00,00,000 apprx

Wednesday - 15,00,00,000 apprx

Thursday - 12,50,00,000 apprx

Friday - 14,00,00,000 apprx

Saturday - 26,50,00,000 apprx

Sunday - 22,50,00,000 apprx

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DRISHYAM THE CONCLUSION had a huge fall in business on Monday as it looks that Navratri period has really kicked in. The business in Gujarat looks like its gone for a toss and not just in case of DRISHYAM THE CONCLUSION but for all films. The film collected just 5.25 crore nett on its second Monday and its total collections in week two stand at 68.25 crore nett.

The second week is now probably looking at business at around 82-84 crore nett in week two when it needed around 100 crore nett to stay in the race for 400 crore nett. The film has now reached a total of 307 crore nett and now the target is probably to cross the business of DANGAL which would make the film ninth highest grossing original Hindi film.

However, the DANGAL total of 374 crore nett will not be too easy as well because there will be competition this week with many films releasing and it may take another dip.

The collections of DRISHYAM THE CONCLUSION till date are as follows.

Friday - 62,50,00,000 apprx

Saturday - 51,00,00,000 apprx

Sunday - 59,00,00,000 apprx

Monday - 20,00,00,000 apprx

Tuesday 19,00,00,000 apprx

Wednesday - 15,00,00,000 apprx

Thursday - 12,50,00,000 apprx

Friday - 14,00,00,000 apprx

Saturday - 26,50,00,000 apprx

Sunday - 22,50,00,000 apprx

Monday - 5,25,00,000 apprx

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DRISHYAM THE CONCLUSION is closing in on the 500 crore mark worldwide as it stands at 491 crore after 12 days. It is going to be 18th original Hindi film to cross the 500 crore mark though now looks unlikely to go to 600 crore which only 11 original Hindi films have managed till date. If you count all versions/formats then it becomes 19th film as SECRET SUPERSTAR (2017) gets into the frame.

The film has scored best in US/Canada as it hits the $5 million mark in 12 days while Gulf is at around $2.50 million and Australia is a solid A$ 2.3 million. The film could have done a little better in UK which stands at £925k but even here it is sure to cross a £1 million which will be a first for an Ajay Devgn starrer. SINGHAM AGAIN at £725k was the best before DRISHYAM THE CONCLUSION. The film has already crossed the collections of DRISHYAM 2 which were $7 million and this film could do double the business of that depending on the hold on second weekend.

The 600 crore mark is going to be stretch as business in India has slowed since Navratri started but it will cross 550 crore and maybe even get to 575 crore. A 575 crore finish would take it into the top fifteen as far as original Hindi films go worldwide and up there with the likes of SANJU (2018), SULTAN (2016) and TIGER ZINDA HAI (2017).

The worldwide collections of DRISHYAM THE CONCLUSION worldwide till date are as follows. 

India - 380 crore (314.50 crore nett)

Overseas - 111 crore ($11.60 million)

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DRISHYAM THE CONCLUSION had an excellent second week as it collected 84 crore nett though the collections would have been much better if it was not for Navratri. The film had a drop on Sunday which it hit the film hard though weekdays remained steady though at lower levels than they would have been if there was no Navratri.

The film now stands at 323 crore nett and is comfortably the second highest grossing film of the year after DHURANDHAR THE REVENGE. It remains to be seen how much it can add from here. The 350 crore nett mark should be reached though a lot depends on where the film lands today as there is a lot of competition.

The competition is not strong barring JAILER 2 in the South and DRISHYAM THE CONCLUSION is weaker there any anyway. The problem is there are so many films, be it original Hindi or dubbed Hindi. So, there is a good chance that collections will see a drop from the Thursday level.

The collections of DRISHYAM THE CONCLUSION till date are as follows.

Friday - 62,50,00,000 apprx

Saturday - 51,00,00,000 apprx

Sunday - 59,00,00,000 apprx

Monday - 20,00,00,000 apprx

Tuesday 19,00,00,000 apprx

Wednesday - 15,00,00,000 apprx

Thursday - 12,50,00,000 apprx

Friday - 14,00,00,000 apprx

Saturday - 26,50,00,000 apprx

Sunday - 22,50,00,000 apprx

Monday - 5,25,00,000 apprx

Tuesday - 7,25,00,000 apprx

Wednesday - 4,75,00,000 apprx

Thursday - 4,00,00,000 apprx

Actor Pavleen Gujral is riding high on the good reviews she has been getting for Hunkkaar: The Roar . “I am ecstatic to get compliments from everyone. Friends, family and film fraternity also have only good things to say, and that’s something that makes you want to go even bigger the next time,” says Gujral, who is stil getting compliments for portraying Dr Preeti in Alpha.

But that’s not her only take away from this big-budget multi-starrer. “The film set was a learning experience. The bigger the star, the more grounded and warm they are. Alia Bhatt was amazing. And especially with Anil Kapoor ji, I learnt a lot.! He has accomplished so much in his life, and he still has the same enthusiasm and, perhaps, more energy than anybody else on set. He talks about the character, he discusses the scene with you. I, who is just starting out, it was very rewarding,” says the 43-year-old.

She adds that the cherry on top was, when he “complimented me” saying, “the dialgoue delivery is very impressive”.

But this has only fuelled her ambition. “I have reached this far due to a lot of hard work and having honed my skill every step of the way. Now, I feel I am ready for a character-driver lead role,” says Gujral, who is also an enterprenuer and a certified nutritionist who co-owns a Sir Lankan-cuisine restaurant, Zetu, in Delhi.

“I have always wanted to do a lot of things. And hosting events, running a restaurant and consulting have helped me pursue my acting career in a big way. This has given me liberty to choose only roles which are meaningful or are integral to the story. You know, I don’t want to do a bad project just for the money, for acting is for creative expression and not financial gratifictaion for me.”