DHURANDHAR THE REVENGE saw the first noticeable drop on its second Monday and it coincided with the first major drop in ticket rates as well. Despite this drop, the collections still remain huge at 22 crore nett. This is only the second time that a second Monday has gone over 20 crore nett, the first being DHURANDHAR released late last year.

The total collections of the film now stand at 747 crore nett and there is a holiday on Tuesday which should give higher collections on Tuesday as compared to Monday. The second week has so far collected 171 crore nett in its second week and it remains to be seen if it can beat the 240 crore nett of DHURANDHAR.

The film has smashed every record in the book till the second weekend but it as always going to get harder from the second Monday as DHURANDHAR 1 went on a crazy run from its second Monday. The weekday collections of that film on the weekdays were more than historic. As a result, DHURANDHAR THE REVENGE may not set a second weekend record. The film should do enough in week two to become the first film in history to reach 800 crore nett in the history of Hindi cinema.

The dubbed versions are at 42 crore nett apprx.

NOTE - The figures reported before were for just Tamil and Telugu versions but there are some limited collections from Kannada and Malayalam versions also and that has been added now.

The collections of DHURANDHAR THE REVENGE (Hindi) are as follows.

Paid Previews - 40,00,00,000 apprx

Thursday - 75,00,00,000 apprx

Friday - 72,00,00,000 apprx

Saturday - 97,00,00,000 apprx

Sunday - 1,00,00,00,000 apprx

Monday - 60,00,00,000 apprx

Tuesday - 46,00,00,000 apprx

Wednesday - 42,00,00,000 apprx

Thursday - 44,00,00,000 apprx

Friday - 37,00,00,000 apprx

Saturday - 55,00,00,000 apprx

Sunday - 57,00,00,000 apprx

Monday - 22,00,00,000 apprx

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DHURANDHAR THE REVENGE crossed the 3 crore footfall mark on its second Monday. It joins GADAR 2, JAWAN, STREE 2, CHHAAVA and DHURANDHAR as the sixth original Hindi film to cross 3 crore footfalls post pandemic. DHURANDHAR leads the race with 3.55 crore footfalls post pandemic and DHURANDHAR THE REVENGE is certain to beat that. It should also breach the 4 crore mark comfortably.

The highest footfalls for a film in Hindi post pandemic is PUSHPA 2 - THE RULE which did almost 4 crore which DHURANDHAR THE REVENGE will beat. The average ticket price of DHURANDHAR THE REVENGE is going fall around 10% higher than the first part and it will be very close to the 300 mark. The ATP (Average Ticket Price) of DHURANDHAR was around 265 while PUSHPA 2 - THE RULE was 230.  Here with DHURANDHAR THE REVENGE, it will probably end in the 290 range.

The 5 crore footfall mark is out of reach as far as the Hindi version goes but including dubbed formats, there is a chance it can get somewhere around 5 crore or close. In this way, JAWAN had around 3.5 crore footfalls with its dubbed versions and DHURANDHAR THE REVENGE will be way ahead by at least 1.25 crore and maybe even 1.50 crore.

The DHURANDHAR films will lead the race post pandemic even if we include all versions. Part 2 will be around 4.75-5 crore and Part 1 will be 3.55 crore and part 1 is only Hindi language without any dubbed versions. Next would be JAWAN at 3.50 crore and then GADAR 2 at 3.40 crore. GADAR 2 was also released in Hindi language only.

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DHURANDHAR THE REVENGE went up a little on Tuesday as it was a holiday for Mahavir Jayanti and it collected around 24 crore nett. The growth was less for a holiday but the film still has high levels of collections. It has done well over 700 crore nett already. The second week collection is already 195 crore nett and it will be second film in history to get over 200 crore nett in week two.

The job is done for the film as its the biggest blockbuster seen in recent times and it will even hit that coveted 4 crore footfall mark which no film in Hindi has done since 2001. But there is that 1000 crore nett target and then also the target to beat PUSHPA 2 - THE RULE in all versions. These targets are not foregone issues.

Obviously its about 1000 crore first and although it should get there, its not easy to cover almost 200 crore nett after the second week. This is especially when a film took such a huge opening. The film also has a huge ratio from South India and here outside Bangalore collections, don't really hold well. If we include dubbed versions, then the film will become the first from the Hindi film industry to hit 200 crore nett in South India by the end of the week.

DHURANDHAR THE REVENGE is also on the verge of becoming of the highest grosser in Hindi and that will happen today and by the end of the week it will be the first film to cross 800 crore nett. Then its about 900 crore nett which will happen and then it remains to be seen if 1000 crore nett is reached.

The collections of DHURANDHAR THE REVENGE (Hindi) are as follows.

Paid Previews - 40,00,00,000 apprx

Thursday - 75,00,00,000 apprx

Friday - 72,00,00,000 apprx

Saturday - 97,00,00,000 apprx

Sunday - 1,00,00,00,000 apprx

Monday - 60,00,00,000 apprx

Tuesday - 46,00,00,000 apprx

Wednesday - 42,00,00,000 apprx

Thursday - 44,00,00,000 apprx

Friday - 37,00,00,000 apprx

Saturday - 55,00,00,000 apprx

Sunday - 57,00,00,000 apprx

Monday - 22,00,00,000 apprx

Tuesday - 24,00,00,000 apprx

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DHURANDHAR THE REVENGE became the highest grossing Hindi film on Wednesday as it crossed the business of the previous record holder, DHURANDHAR, within 14 days. The collection on the second Wednesday was 17.50 crore nett which takes the film to 788 crore nett. It will become the first film to breach 800 crore nett today.

The collections have come down to lower levels on Wednesday but this was expected as the run has been beyond phenomenal so far. You just cant hold collections at that level especially with such high ratio of business from South India where its a front loaded market for Hindi films outside Bangalore. The film has covered 3.2 crore admits in just 14 days and paid previews. So, this pace just can't continue.

Basically now its about the 1000 crore nett mark and the wait to see if this film can reach there. Its a huge benchmark just like 1, 10 and 100 were and now its 1000. If we go by original Hindi films, then 1 crore nett came in 1952, then 10 crore nett came in 1975 and 100 crore nett came in 2008. Now the wait is for 1000 crore nett which will come one day. It remains to be seen whether it will be DHURANDHAR THE REVENGE or some other film.

The collections of DHURANDHAR THE REVENGE (Hindi) are as follows.

Paid Previews - 40,00,00,000 apprx

Thursday - 75,00,00,000 apprx

Friday - 72,00,00,000 apprx

Saturday - 97,00,00,000 apprx

Sunday - 1,00,00,00,000 apprx

Monday - 60,00,00,000 apprx

Tuesday - 46,00,00,000 apprx

Wednesday - 42,00,00,000 apprx

Thursday - 44,00,00,000 apprx

Friday - 37,00,00,000 apprx

Saturday - 55,00,00,000 apprx

Sunday - 57,00,00,000 apprx

Monday - 22,00,00,000 apprx

Tuesday - 24,00,00,000 apprx

Wednesday - 17,50,00,000 apprx

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DHURANDHAR THE REVENGE had a huge second week of 218 crore nett. This is 60% drop from the first week which was an extended first week eight days and paid previews as well. On top of it, the first week was full of holidays which was not there in week two. The collections have come down to lower levels over the last two days but this inevitable due to that huge first week where records were shattered by miles.

The film has a total collection 805 crore nett so far becoming the first film to cross 800 crore nett. The film has set a new high for for a Hindi film but circuit wise it is only East Punjab and Southern circuits where it has set new highs. Most of the others should come by the end of this week though in a couple of circuits, its unlikely to reach top spot. The race now is for 1000 crore nett figure.

It would be great if the film can beat the 1125 crore nett of PUSHPA 2 - THE RULE in all versions but that does look difficult due to these lower collections over the last two days and limited support in dubbed formats. The film has almost 50 crore nett from its dubbed versions. So, its total on all versions is around 853 crore nett. Including this, the 1000 crore nett mark is sure to come. For Hindi alone, DHURANDHAR THE REVENGE will need a 100 crore third week to keep on target for the 1000 crore nett mark.

The collections of DHURANDHAR THE REVENGE (Hindi) are as follows.

Paid Previews - 40,00,00,000 apprx

Thursday - 75,00,00,000 apprx

Friday - 72,00,00,000 apprx

Saturday - 97,00,00,000 apprx

Sunday - 1,00,00,00,000 apprx

Monday - 60,00,00,000 apprx

Tuesday - 46,00,00,000 apprx

Wednesday - 42,00,00,000 apprx

Thursday - 44,00,00,000 apprx

Friday - 37,00,00,000 apprx

Saturday - 55,00,00,000 apprx

Sunday - 57,00,00,000 apprx

Monday - 22,00,00,000 apprx

Tuesday - 24,00,00,000 apprx

Wednesday - 17,50,00,000 apprx

Thursday - 16,00,00,000 apprx

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DHURANDHAR THE REVENGE saw the second highest second week of all time as it fell a little short of the record set by DHURANDHAR in December. DHURANDHAR had collected 242 crore nett as compared to the 228 crore nett by the sequel. Only this franchise has got over the 200 crore nett mark in week two and both films have done that by comfortable margins.

The 100 crore nett mark in week two is still tough despite these two films crossing 200 crore nett. Only ten original Hindi films have managed to do it and are listed below. All films are post pandemic with DANGAL being the only one before the pandemic to hit 100 crore nett in week two. From dubbed films, BAAHUBALI 2: THE CONCLUSION and PUSHPA 2 - THE RULE have managed 100 crore nett plus second weeks.

The potential for the bigger films is going up and up and very fast as a 200 crore nett second would have been unthinkable 2-3 years back. Not only do you have 200 crore nett second weeks, there is the potential of a 100 crore nett third week as well,. Before the pandemic, only BAAHUBALI 2: THE CONCLUSION had crossed 50 crore nett in week three and here DHURANDHAR THE REVENGE will be going for 100 crore nett which the first part has already achieved.

The top ten second week collections of all time for original Hindi films are as follows.

1. Dhurandhar - 2,42,70,00,000

3. Chhaava - 1,70,31,00,000

4. Stree 2 - 1,41,03,00,000

5. Gadar 2 - 1,33,56,00,000

6. Animal - 1,32,97,00,000

7. Jawan - 1,17,94,00,000

8. Dangal - 1,11,56,00,000

9. The Kashmir Files - 1,07,74,00,000

10. Saiyaara - 1,05,31,00,000

The recently released web series Chiraiya continues to be a topic of public discourse for touching on the subject of consent and marital rape. Actor Prasanna Bisht, who plays Pooja, the victim of marital rape in the show, reacts to its criticism of being an ‘anti-men propaganda.’

“The show is all about explaining that a woman’s body belongs to the woman and what the meaning of consent is. If you think that is propaganda, then it’s extremely sad. Whoever is saying that, should educate themselves and work on their emotional intelligence (EI),” says the 26-year-old.

Claims surfacing online also say that the show alleges that 82% of married Indian women face abuse in their relationship. Calling this spread of data false, Prasanna says, “People start putting their perspective out without seeing the actual thing. The show never claimed the percentage that they are talking about.”

Ask her if she felt any apprehension performing the scenes of harassment on screen at such an early stage of her career, Prasanna gives a brave reply: “There are so many men who don’t see the age of a girl when they harass them. So, why should I see my age when I want to speak against it? It was a responsibility because I had also experienced things in my life very early on.”

She also questions the naysayers on why they aren’t seeing the good men portrayed in the show. “Why are people not talking about Vinay (Pooja’s brother-in-law who supports the fight against marital injustice)? They’re only talking about what Arun (Pooja’s husband) did and how the show portrays men through him. But we have the entire contrast shown in the show itself,” she signs off.

Actor Faiz Mohammed Khan, who played the role of Sajid Mir in Dhurandhar (2025) and Dhurandhar The Revenge (2026), has a double reason to celebrate: his performance in the film as well as his role as dialect coach for the film. After 14 years in the industry, he’s proud to be part of a film he calls a “history in the making.”

Faiz, an NSD alumnus, was brought on board by casting director Mukesh Chhabra. “One day Mukesh ji asked, ‘Faiz kya tum dialect par bhi kaam karoge? You are well-versed in Urdu. So that’s how my dialect coaching began,” he shares. He adds that director Aditya Dhar’s focus on the Urdu dialect was for it to be accessible. “It was never about ‘khalis (pure) or difficult Urdu’, but rather about the ‘asli Pakistani’ lingo that felt more like more like ‘hamare beech ki language’,” says the 39-year-old.

Faiz considers all the actors on set as his favourite students. “Sabko sikhne mein maza aa raha thaa because the entire team was so passionate about the narrative.” However, he singles out Sara Arjun, who played Yalina, as an amazing student. “She would say, ‘Sir, abhi theek aya nahi dialogue, aur practice kare, aur acha hona chahiye’,” says the actor who was previously seen in Kedarnath and Padman (both 2018).

The dialogue, ‘Darling, darling, dil kyon toda…,’ by actor Gaurav Gera’s character Aalam became an instant hit, and Faiz remembers they both worked really hard to set the right tone.

Currently, Faiz is balancing acting, with projects like Gandhi ready for release, with backstage work on Pankaj Tripathi’s play La Ilaaj.

Author Harinder Singh Sikka, whose espionage book Calling Sehmat was adapted into the 2018 film Raazi, insisted in a post on X on Saturday that choosing Meghna Gulzar to direct the film was his “gravest misjudgement”.

Speaking to us, Sikka says he has been raising the issue for a while and is bringing it up again in light of the buzz around the spy franchise Dhurandhar. “I wasn’t willing to sell the rights of the book but agreed because of a promise to (poet-filmmaker and Meghna’s father) Gulzar,” he shares, adding, “My problem is that she removed the tricolour from the movie, while the Pakistani flag was flaunted. Even the Pakistani army was shown in a soft light. While in the book the protagonist was welcomed with (the Indian national anthem) Jana Gana Mana when she returned to India, all that was missing in the film. The climax was made to show that Sehmat made a mistake by fighting for India, which harmed the cause of Kashmiris.”

Recalling his first meeting with Meghna, he says, “I told her that I was appointing her on her father’s request, even though she didn’t have a good reputation in the industry. After the film’s completion, she wrote a nasty message saying, ‘I don’t want to speak to you anymore’. The director’s cut was shown to the armed forces but not to me.” He adds that he appreciates films like Dhurandhar for showing Pakistan in its “true light”.

We reached out to both Gulzar and Meghna for a comment, but received no response till the time of going to press.

Actor Bhumi Satish Pednekkar didn’t hold back as she spoke during a session on Monday at the just-concluded International Film Festival Delhi’s inaugural edition, getting candid about social media trolling and the need to support smaller films.

In conversation with Sonal Kalra, Chief Managing Editor-Entertainment and Lifestyle, she had a clear stance on dealing with online bullying: speak up or risk becoming a victim. “There should be strong laws against cyberbullying. Not just influencers and actors, but common people face it too. These trolls write such nasty stuff that it borders on being inhumane. To wish for someone’s death under the garb of commenting is taking it too far. Aaj agar awaaz nahi uthayi toh aap shikaar banoge kal,” she said.

The 36-year-old added that social media has become increasingly unforgiving. “Kisi se ek galti ho gayi, toh aap society ke har insaan ko pathhar maaroge?” she remarked.

Turning to the film industry, she stressed the importance of audiences supporting smaller films alongside big-ticket successes like Dhurandhar. “I request everyone to please support small films. I have watched Dhurandhar, mujhe bahot pasand aayi, and I am not even a person who likes violent films! But even those films which are light, slice-of-life, heartfelt, agar sirf iss wajah se films ko theatres mein jagah nahin milegi, toh hum log kahaan jaayenge?” she said, adding, “Chhoti films dekhna zaroori hai. There are a handful of OTT platforms, if even they don’t take small films like theatres, toh poori industry band ho jaayegi.”

Addressing the growing fixation with box office figures, Bhumi, recently seen in Daldal, added, “Trade numbers se apne aap ko disassociate kar lo... You should only be concerned with whether the film is good to watch or not.”

Relentless action fuels the almost four-hour saga that is Dhurandhar The Revenge. To bring his story from paper to screen, filmmaker Aditya Dhar roped in action directors Oh Sea Young, Yannick Ben, Aejaz Gulab, and Ramazan Bulut. According to Young, the film has shaped up as a stylised action fare for two reasons — Dhar’s vision and leading man Ranveer Singh’s “obsession”.

“Ranveer is a beast — pure energy,” Young told mid-day. Even as the South Korean stunt director has worked with several action heroes in Bollywood, he noted that Singh’s dedication to perfect the scenes is almost unmatched.

“He is the first actor I know who takes notes on fights and choreography. He’d ask things like, ‘If I’m throwing a right hook, where is my left hand?’ He would write everything down. He even asked for demos right before the camera rolled. I was shocked he hadn’t done a pure action film before. Ranveer can master it in a short time through sheer obsession.”

From Singh’s bathroom fight sequence to the last train scene with Arjun Rampal, Young shared that every set-piece has turned out sharp because of Dhar. Apparently the director had a four-step process. 

He noted, “First we’d build mock sets in the studio to design the choreography, film our test version, and then refine it with the director. Then came the actor training, followed by final rehearsals on the shoot day. The director explained action the way he does emotions, detailing the vibe and the grit he wants.”

Oh Sea Young and Aejaz Gulab choreographed the final fight sequence between Ranveer Singh and Arjun Rampal that begins in a mosque, shifts to the fields and the container yard, and ends in a train. “It was the most challenging scene to shoot. We spent more than 20 sessions on that climax alone,” exclaimed Young.

Any takers for a sequel to Queen (2014)? Countless, we imagine. After all, Kangana Ranaut’s coming-of-age film, which saw her character Rani take off on a solo honeymoon after being dumped by her fiancé, became a roaring success. Well, we’ll meet Rani again soon! mid-day has found out that leading lady Ranaut and filmmaker Vikas Bahl are set to take Queen 2 on floors by April-end.

So, where will Rani take us this time around? From what we’ve heard, the sequel won’t be a continuation of the 2014 hit, but will carry forward the themes of self-discovery and self-reliance.

A source revealed, “In Queen 2, Kangana’s Rani will be a city girl unlike the small-town girl in the original. She will be smart, strong, and quirky, but a plot point will send her on the road of self-discovery. It will show how she conquers life through her individuality, self-realization, and courage. While the first one saw her travelling to Paris and Amsterdam alone, this journey will take her across cities in India.”

Besides Ranaut, we won’t see any familiar faces from the original. The director has apparently zeroed in on several theatre actors for supporting roles in the second instalment.

The source added, “The unit will kick off the project in a Mumbai studio, where a set reflecting a North Indian city and another depicting the protagonist’s home will be built. After the Mumbai leg, they will move to other metro cities. The film will be completed in a start-to-finish schedule of three months.”

‘Queen’ (2014) was produced by Phantom Films and Viacom18 Motion Pictures. With Phantom Films — founded by Vikramaditya Motwane, Anurag Kashyap, Madhu Mantena, and Vikas Bahl — having been dissolved in 2018, the sequel is being backed by Bahl under his banner. He also serves as the film’s writer.

Filming has begun on the biopic of former cricket captain Sourav Ganguly, with filmmaker Vikramaditya Motwane stepping into the director’s chair, the makers announced on Wednesday. Actor Rajkummar Rao will portray Ganguly in the film, tentatively titled Dada: The Sourav Ganguly Story.

Sanjay Das, a key member of the project team, said, “Right now, Sourav is busy with the T20 league, but after the 10th, he will be present at the shoot. After 20th, shoot is scheduled to be in Kolkata, however the dates are being reconsidered, due to elections in West Bengal.”

When asked if Dada: The Sourav Ganguly Story is the final title, Sanjay added, “It is the working title as of now, it is likely to be changed.”

– Inputs from Ruman Ganguly

Rajkummar Rao, who portrays Sourav Ganguly in the biopic, has undergone immersive preparation ahead of filming.

Earlier, sources shared that he may spend time in Behala – the Kolkata neighbourhood where Ganguly grew up – and visit Eden Gardens, along with the coaching centre where he trained, to study the cricketer’s onand off-field persona.

In the worlds of Imtiaz Ali and Rakeysh Omprakash Mehra – whether it’s the Delhi of Rockstar and Tamasha , or the one shown in Rang De Basanti and Delhi-6 – the city is not just a shooting location. These films are a window into Delhi, and for those who belong to it, it is a mirror. At the closing session of the first International Film Festival of Delhi, the two filmmakers came together in conversation, unfolding the layers that run through each other’s cinema – the shared love for Delhi, the imprint of the city on them and their films. They spoke of the lanes of Delhi like a livedin map – “take this left, that right” – and the audience was definitely not surprised.

Rakeysh Omprakash Mehra doesn’t see Delhi as a contender in the race of film capitals, but as something that exists in its own distinct space.

“I wouldn’t say let’s make Delhi the film capital. For that, Bombay, Hyderabad, Chennai, Kochi, and Kolkata are already there, making films in their respective languages. Delhi can, however, 100% become an alternate expression for cinema.”

It’s not because there’s an “India Gate or Red Fort, not because we have Mehrauli or Qutub Minar,” but the contradictions that sit side by side, noted the filmmaker.

“There is something in the air here which is very serious and, at the same time, very fleeting – something that is extremely socially awakening, and yet, completely societally dead and insensitive to the other person. It all exists in the same place. I meet the bureaucracy in Delhi, and I understand why this complex country called India works – they make it work. Then I meet so many people in Delhi, and I realize, arey satyanash! That’s why we are still struggling, why we move two steps forward and three steps back,” he added.

Delhi, according to him has the capacity to tell stories as “it is a melting pot of people not just from across India, but from all over the world. It is a power capital. And this power is greater than the power of money. The human power here is incredibly strong. These are the stories we can tell.”

Imtiaz Ali sees the same city through the idea of layers, histories folding into one another, “The great thing about Delhi, and I see (this) in your (Rakeysh’s) cinema, is that within one lens, within one geography, there is the presence of many, many layers that have come into this city over the years and centuries.”

The mood shifts as Imtiaz reveals the Delhi-6 director’s quirky love for the city. “Aapke baare mein ilzaam hai ki kabhi-kabhi Rakeysh ji bina kisi ko bataye Dilli chale jaate hain. Kabhi-kabhi aise hi Dilli ghoom kar – kahin nahi jaakar bhi – wapis airport se aa jaate hain,” asked Imtiaz, and Rakeysh quiped, “Aadha sach hai.”

He then revealed the whole truth, “Kai baar main raat ki flight lekar ghoom kar subah wapas Mumbai aa jaata hoon.” Why? Because “there are so many things that you only get at night in Delhi – jaise Moolchand ke paranthe,” shares Rakeysh, adding, “We used to go to the old Jaipur highway and watch international flights taking off – that sight you can only see at 3 or 4 in the morning. Take a walk in Lodhi Garden after 2 am – it becomes another place entirely. There is nobody there, and you feel like you’ve gone back in time. I love it. Din mein bhi kai baar aata hoon (laughed).”

The conversation drifts to music, and to the songs that stay long after the films end. Rakeysh said, “Rehna Tu Hai Jaisa Tu – Rahman sahab ne chatayi ki tarah kuch aisa buna hai. There was no song situation for Rehna Tu or Luka Chuppi in RDB, and no song situation for Masakali in Delhi-6. It’s just A R Rahman who brings that. And in his light we all glow.” For Imtiaz, it’s Phir Se Udd Chala. “Iski lyrics bhi badi mushkil hain.”

Turning the spotlight towards Imtiaz, Rakeysh asked, “Main bahut arson se aap se puchhna chahta hoon. Rockstar dekhi – bahut maza aata hai. Main hall chhor ke jata hoon aur mujhe neend nahi aati. There is something you shake inside us – aisa kuch jo aapko jhanjhorta hai, that keeps you awake. I think that element is you. Is it you in all your characters?”

Imtiaz answered, “Rockstar ek aisa experience hai – jismein ek line hai: jo bhi main kehna chahoon, barbaad kare alfaz mere. So, it was like that during the shoot too. When we were making the film, it was dictating itself – something that was there in the air. Jaise aap kehte hain – hawa mein kuch baat hoti hai. Out of that, something emerged. Dilli mein hi ho raha tha yeh sab. Aap kehte hain na, kuch jhanjhor deta hai – main pehla victim hoon uska. I feel that woh film bilkul imperfect hai, lekin usmein thodi bahut sachhi baatein aa gayi hain.”