DHAMAAL 4 has had a very good first weekend as it collects almost 65 crore nett over its first three days. The film has shown strong growth on Saturday and Sunday after a good first day. The film collected less than WELCOME TO THE JUNGLE on Friday but more on Saturday and Sunday. The overall weekend was higher and that is even if we count the paid previews of WELCOME TO THE JUNGLE.

The main difference between the two films is Mumbai circuit as DHAMAAL 4 is around 3 crore nett better. DHAMAAL 4 is superb in Mumbai circuit as it collects almost 23 crore nett with Sunday being close to 10 crore nett. Gujarat is also excellent for DHAMAAL 4 which should mean a good run for the film long term as this circuits holds up well.

DHAMAAL 4 is not as big as film as the last film in the franchise, TOTAL DHAMAAL, and its initial was also less. But the public seems to have liked the film and it now looks to have a chance to go on and beat the collections of TOTAL DHAMAAL which were around 150 crore nett. This would be a great result and a HIT film but with this weekend trend you would want the film to go even further.

The main obstacles in the way are Hollywood releases like THE ODYSSEY and SPIDER-MAN: BRAND NEW DAY but its better to have in these in the way rather than big Hindi releases.  There have been four back to back Hindi releases over the last month and DHAMAAL 4 looks to best one among them. It has come last and is the best release date also.

The collections of DHAMAAL 4 till date are as follows.

Friday - 14,00,00,000 apprx

Saturday - 22,50,00,000 apprx

Sunday - 28,00,00,000 apprx

ALPHA had a huge fall in the second weekend as it collected only 5.50 crore nett as against the 33 crore nett in the first weekend which now takes the total of the film 51.75 crore nett after ten days. The release of DHAMAAL 4 affected the second weekend but it would be to the tune of a few crore only and the drop is more to with the content being rejected.

The film will lose money but its around 20 crore and considering the huge failure of the franchise tentpole WAR 2, then this sort of loss means actually getting away with it. This 40 crore recovery from theatres worldwide could have actually been less considering the rejection of WAR 2.

The film in not likely to add much from here and will probably finish at more than 55 crore nett but 60 crore nett looks hard to reach.

The first week collections of ALPHA are as follows.

Friday - 1,25,00,000 apprx

Saturday - 2,00,00,000 apprx

Sunday - 2,25,00,000 apprx

Even before Ranveer Singh’s ‘Pralay’ goes on floors, it has become one of the most talked about projects in Bollywood, with director Jai Mehta aiming to bring a stylised zombie thriller. The latest buzz is that the makers have initiated discussions with the prosthetic team of ‘28 Days Later’ (2002) to design the film’s creature effects.

According to industry sources, the production has approached prosthetic make-up artistes Lisa Crawley, Adrian Getley, Barrie Gower, and Kate Hill, who were part of the primary prosthetic team on Danny Boyle’s cult horror movie.

A source said, “‘Pralay’ is envisioned as a large-scale survival horror film with extensive practical effects. The makers want those infected by the zombies on screen to look terrifying and convincing. They have been considering some of the best prosthetic talents globally, and the ‘28 Days Later’ team naturally came up in discussions.”

The team is expected to be locked before Mehta calls action on the zombie thriller in September. The source added, “Jai has planned an extensive first schedule in Australia, where the team will film a substantial portion of the movie’s post-apocalyptic world. Although the story unfolds in a zombie-ravaged Mumbai, Australia has been chosen for its diverse landscapes.”

Filmmaker Imtiaz Ali’s daughter Ida Ali, 25, is engaged to her longtime boyfriend Krish Agarwal, 24. And for the father of the bride, this milestone “is the greatest happiness for me”.

Krish, a quantitative researcher at a hedge fund, proposed to Ida, a filmmaker, in Norway on July 1, and she shared glimpses on Instagram on Sunday.

The proposal also came with an old-world touch of tradition. Before popping the question, Krish spoke to Imtiaz and sought his blessings. The 55-year-old

tells us, “Krish did speak to me before proposing to Ida.”

As congratulations continue to pour in, naturally, conversations have shifted to wedding bells. However, Imtiaz is in no rush to get ahead of the couple’s engagement bliss. Choosing to let the couple soak in this momentous milestone, he says, “I would rather not step in and let them enjoy their moment.”

Meanwhile, Ida tells us, “No wedding plans yet, just enjoying this moment like my dad said.”

The box office performance of the film Bharat Bhhagya Viddhaata may have been underwhelming, but actor Girija Oak Godbole believes that while filmmaking is a business, actors should not be preoccupied with box office numbers.

She acknowledges that the box office is crucial for the industry as “everybody has to take home a sum of money”, but insists a film’s commercial performance should never dictate an actor’s approach to their craft. “We can’t shy away from the fact that movie making is an industry and it’s a business. So yes, box office does matter to a film because finally it has to sustain the people that are involved in it,” she shares.

However, Girija draws a clear distinction between a film’s commercial outcome and an actor’s job: “Does it matter to me as an actor? No, because box office comes after I’ve finished my job. When I’m working on a film, box office is so far away from me at that point in time that it actually doesn’t affect me at all.”

She further says that a film’s box office performance can never be predicted. “I’m still going to do my job the way I see fit, and then that’s slightly beyond my purview because it’s (box office performance) is a reward that you can hope for, but you can never really predict. So is it connected? Yes, because I’m also part of the same industry. It pays my bills. Box office does. But does it affect my job? No,” she ends.

Why does Amol Parashar seamlessly blend with Dr Prabhat, his character from Gram Chikitsalay? Because they both seem grounded and refreshingly honest. He is deeply connected to his roots, and finding joy in the little things is another reason why they seem similar. As the Prime Video series returns with its second season, the actor talks to mid-day about finding the show’s own identity beyond inevitable comparisons with Panchayat, why stories about good people still matter, and stepping out of Chitvan’s long shadow. Excerpts from the interview.

Not as much. For the sake of the storytelling, we’ve shown him as someone who has never stepped inside a village. But that’s not the case with me in real life. I have relatives who live in rural areas. My grandmother used to live in a village and we would often go there during the summer holidays. My uncle still lives in a village on the Jaipur highway. While I am unable to go there as often now, I was there recently for a wedding.

None of these things are industry-specific. We all know the inefficiencies of our system. Some of us choose to look at it and call it for what it is. Some choose to look away and pretend that everything is perfect. But deep down, we all know it is not. I also believe there is a lot of scope for improvement. That’s why people relate to the story. I don’t think anyone in the audience will ask, ‘Ghoos kya hota hai?’

This is something we were aware might happen, more for the show than for us as actors because everyone has their own style and personality. I believe there is a difference at the character level. While both stories begin with a city boy arriving in a village, their motivations are different. Dr Prabhat has chosen to be there, while Jeetu’s [Jitendra Kumar’s] character wants to leave. So I wasn’t worried about comparisons. By season two, we have found our own standing.

No, I don’t remember that. What made me happy was receiving messages from people facing the choice between bending to the system or sticking to their values, who were inspired by the story. Everybody knows it’s a fictional character. But it gives you a lens of what is possible. [Besides entertainment], stories are also supposed to imbibe values in society. Over time, we have stopped telling stories of just plain good people because it was considered boring. Gram Chikitsalay is an example that a story about an aspirational protagonist can still be entertaining.

I think some people, not many, are probably discovering Chitvan through Prabhat. Most people know Tripling or Chitvan, or at least know the song even if they haven’t seen the show. Some people are saying they like Prabhat more, while others still prefer Chitvan. But the perception is shifting. As a character, and as a show, there is no longer the shadow of a previous role. There is also a niche audience that remembers me as Bhagat Singh from Sardar Udham (2021).

After nearly a decade away from theatre, Amol Parashar returned to it with the play, ‘Besharam Aadmi’. “It had been around eight to nine years. The whole story started from the stage, after I left my job. I used to miss it. I just didn’t know how to make it happen. With film and series schedules making ensemble theatre difficult, the only way to do it is to create a one-man show. I feel your instinct gets trained by direct and unfiltered feedback. It is a nice way to connect and have conversations with people after the show.”

After a three-year break, Drashti Bhanushali returns to television as Garima in Kyunki Saas Bhi Kabhi Bahu Thi 2. Having spent years playing child characters in television shows and advertisements, the actor admits she wasn’t initially keen on joining the iconic franchise.

“I was not ready for this show, but my mom loved it because everyone at home, including my naani, used to watch it. I didn’t know much about the show before, but a leap was set to happen with the new generation leading the way forward. At first I didn’t appreciate the character, but after living in her skin and understanding her, I am glad to be part of it,” says Bhanushali, adding that being part of a Balaji show was a bonus.

Stepping onto the set came with its share of nerves. “Everybody was a senior here. From the director to Smriti [Irani] ma’am, they have been there since the original show. So, I was nervous. Especially since my entry was different from others. I entered the scene as a drunk. But it came as a shock to people who’ve seen my work.”

The role also marked her transition from child actor to playing a young adult, which she says “took time”. “The director [often told me], ‘Garima is not in her childhood. Bring your adult version.’ Sometimes, the childish voice just slips in. I’m improving slowly.”

On working with Irani, she says, “We had a word, she is very sweet. But she rarely comes on set. Most of the time, [her role is enacted with us] using a duplicate. Everyone on set is rather welcoming and sweet. They introduced themselves first. It’s inspiring to watch them perform.”

Bhanushali’s name recently surfaced in connection with Rohit Chandel, who was arrested under the Protection of Children from Sexual Offences (POCSO) Act following allegations of harassment made by a minor co-actor.

She told mid-day, “I have no knowledge of the ongoing case and request everyone to stop associating my name with it. I am no longer in touch with the person concerned and have no connection to this matter. It is disappointing that some co-actors are indirectly dragging my name into this issue without knowing the facts. I am not here to support anyone. If legal proceedings are underway, let the judiciary decide the truth.”

I often joke that I have spent most of my career building worlds that people either inhabit for years or encounter for two seconds on screen. The tools are similar, but the pressures of these twin careers are not. My fascination with design started long before I knew it could be a profession. I grew up in a Gujarati family where I was constantly making things, whether miniature installations for Navratri, religious backdrops, stage sets for school productions or drawings for competitions. I was never the student who came alive in conventional academic subjects. Once someone put a pencil in my hand and ask me to create something, though, everything changed.

The first major validation arrived when I secured an All India Rank of 50 in the NIFT entrance examination. Suddenly it felt possible as a career path. My route into interiors was far from straightforward. For years, I worked in production design, first under Sabu Cyril and later independently. Sabu was a huge influence. I became fascinated by the idea that entire environments could be built solely to serve a story.

When I struck out on my own, I worked on films such as Go Goa Gone, Happy Ending, Dear Zindagi and SPYDER. I also worked on more than a thousand commercials and TV productions. People often underestimate how demanding advertising can be. A commercial might require an entire world to be conceived, designed and executed in a matter of days. You learn speed, adaptability and precision very quickly.

After nearly five years in production design, the turning point came unexpectedly when I was commissioned to design the office of filmmakers Balki and Gauri Shinde. What started as a single project altered the direction of my career.

During the project, Alia Bhatt visited the office and responded strongly to the design. Not long afterwards, she entrusted me with designing her home. That project opened an entirely new chapter. One commission led to another and before long interior design had become a major part of my practice.

One of the biggest lessons came from discovering that homes are fundamentally different from film sets. A set exists to tell a story. A home exists for people to live their lives. On a film set, the narrative comes first. In a residence, the people become the narrative.

That sounds obvious now, but it required a significant shift in mindset. In production design, I was accustomed to creating highly immersive environments with strong personalities and unconventional ideas. In interiors, many clients initially wanted something safer. There was one early project that left me deeply dissatisfied because it looked pleasant enough but lacked any real character. I remember finishing it and realising

That project became an important lesson. It forced me to define what kind of designer I wanted to be. Since then, I have approached every commission with the belief that a space should reveal something about the people connected to it. A home should not simply look attractive. It should possess an identity.

Ironically, the biggest challenge in moving from film sets to homes was not creativity but patience. Film production runs on relentless deadlines. Interiors demand long conversations, planning, collaboration and attention to how people actually live. I am fortunate to work with architects who help translate my ideas into technically rigorous spaces, while I push them to think beyond convention.

Whether I am working on a film, a commercial or a residence, the objective remains remarkably similar. I want people to feel something. The medium changes. The story changes. But my desire to create memorable worlds does not.

This week, when it was announced that Christopher Nolan had included India among the four stops on the world premiere tour of The Odyssey, old videos from his 2018 visit began doing the rounds again. Back then, there was considerable chatter around India getting 70mm IMAX screens before Nolan’s next trip. Fast-forward eight years, the filmmaker is indeed returning, but the screens appear to have missed the memo. Fans were quick to point out that not a single 70mm IMAX screen has materialized.

A few years ago, exhibitors had to release explainer videos detailing why IMAX and premium format screens offered a superior viewing experience. They even suggested where moviegoers could watch films in the format intended by the filmmaker. Today, the situation is different. Audiences are driving demand for specialized formats, often choosing them over conventional screenings.

Exhibitors say formats such as IMAX and PXL bring viewers closer to the filmmaker’s vision, offering a more immersive, detailed and impactful experience. Films designed for these formats provide a better experience.

The premium-format availability is now a key talking point around major releases. This week, comments attributed to Sony Pictures began circulating online, suggesting that Spider-Man: Brand New Day would not be released in IMAX in India, although it would be available in other premium formats. Exhibitors say such discussions indicate just how aware audiences have become of the different viewing options available to them.

Apart from IMAX, India also has PXL screens, which offer precision-engineered sound and exceptional image clarity Sanjeev Kumar Bijli, Executive Director, PVR INOX Limited, tells us, “In today’s cinematic landscape, the growing preference for premium formats like IMAX and PXL reflects a clear shift toward immersive, high-quality storytelling. What sets these formats apart is their ability to deliver a truly differentiated experience through expansive screen sizes, exceptional image clarity, deeper contrast, and precision-engineered sound that goes far beyond conventional formats.”

Hollywood executives say the preference for specialized formats has grown so much that a substantial share of a film’s box-office earnings now comes from these screens. One reason is that tickets for these formats are priced at a premium compared to regular screenings.

A Hollywood executive tells us, “One of the reasons why Obsession’s box-office performance surprised the industry was because the film was not released in any premium format, unlike earlier horror releases. At present, specialized formats contribute a major portion of a film’s earnings.”

Cinema business analyst Girish Johar adds, “In India, the demand for premium screen formats has grown a lot over the last couple of years and has become an integral part of the theatrical viewing experience. While a number of premium screens have been added, we still have a long way to go.”

IMAX, short for Image Maximum, is the go-to format for the majority of moviegoers, especially when it comes to superhero films. It is a motion picture projection system that delivers stunning images and 12-channel sound. The 12-channel sound means you can hear sound coming from overhead. In short, IMAX provides sound that you can feel. 70mm IMAX is considered the highest-quality IMAX format.

Source: IMAX

Esha Deol is stepping into uncharted territory with Ghunghat, her first horror-comedy. Talking about her return to the big screen with Ghunghat, directed by Rajiv S. Ruia and producer Devesh Kumar, Esha says the film's genre initially caught her attention, but it was the story's deeper message that ultimately convinced her.

"The genre was definitely a draw. Horror-comedy is entertaining because it blends thrills with humour, and audiences are really enjoying that mix right now. But ultimately, it was the script and the character that convinced me to be a part of the film. What attracted me to this film was its strong message about questioning long-held beliefs and finding the courage to bring positive change," she says.

She adds that while the film is packed with humour, drama and emotions, it also explores themes of empowerment and individuality. "I feel audiences will enjoy the journey while also taking something meaningful back with them."

Ask Esha if she is looking for that one role that will define her career and she shared how she is not chasing milestones. Instead, her focus remains on meaningful work.

"I genuinely feel I've already been fortunate to do some exciting work in my career. In many ways, I'm still here and still getting opportunities because of the films I've done earlier. Honestly, I'm not chasing that one defining role or looking for a particular milestone. I'm just here to do good work with good people," she says.

Beyond acting, Esha has also been pursuing another longstanding passion — interior design. Having recently collaborated with a real estate developer on designing living spaces, she says the field has fascinated her for years.

"Interior design isn't something I discovered recently. It's a passion I've carried with me for as long as I can remember. I've always been fascinated by spaces, how they influence the way we feel, and how thoughtful design can transform everyday living," she shares.

Esha reveals that she trained under designer Neetu Kohli and received constant encouragement from her father (Dharmendra) to pursue the interest. Calling her recent collaboration a dream opportunity, she adds, "I believe that when passion and opportunity meet at the right time, you should embrace it. It's been incredibly fulfilling to channel my creativity into designing spaces that are beautiful, soulful and meaningful."