HAUNTED – ECHOES OF THE PAST was the leading Hindi film of the week as it collected best of the new releases and the holdover films. The collections are being seen as a surprise mainly as its beaten the far bigger film MAIN VAAPAS AAUNGA which would seem to have a much more awareness especially around the industry as well as in the media, social media and the digital arena. But what is happening at a ground level in the likes of Lucknow, Kanpur and Patna is different as these collections prove.

The 2 crore nett plus collections (would have been more if it had a proper release at the national chains especially PVR Inox) of HAUNTED – ECHOES OF THE PAST is actually not much of a surprise and its more about the genre not taken seriously in the industry. In the 80's when video become rampant, this genre was a parallel industry as it became about the mass audiences due to a chunk of the big city audience shifting to video. Its pretty similar today though for video, you can read streaming.

HAUNTED – ECHOES OF THE PAST is a low budget film and if it can hold up for a week, it will be a success. The film does seem to made through AI technology; so, in terms of look, it does look bad but the audience has come for the horror and if they get that with some sort of story, it will be enough for the film.

MAIN VAAPAS AAUNGA is extremely poor with collections of a little over 1 crore nett. The film has been made on 6-7 times the cost of HAUNTED – ECHOES OF THE PAST and has half the collections of that film which pretty much tells the story. The trailer of the film offers nothing and that reflects in the collections. The film is likely to go the EK DIN way and suffer huge losses as, just like that film, the costs are way higher than the trailer or the cast of this film would suggest.

The other two films GOVERNOR and BHARAT BHHAGYA VIDDHAATA; both collected in the 75 lakh nett range but with trajectory of BHARAT BHHAGYA VIDDHAATA on day one, this one may get more growth. It may even get the best growth of all the new films released though unless its a miracle multifold growth, it will not matter much.

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HAUNTED – ECHOES OF THE PAST collected well again on Saturday as it collected 3 crore nett easily coming out on top of all the new releases. The film almost doubled up its collections at the PVR chain as they increased the shows. This is most up the market chain but on day two the collections of HAUNTED – ECHOES OF THE PAST and MAIN VAAPAS AAUNGA are almost the same.

There is a 10 lakh gap and this is mainly due to less showcasing but when a film like HAUNTED – ECHOES OF THE PAST can collect as much as a film like MAIN VAAPAS AAUNGA at a chain like PVR, it shows how the audience profile has changed today as this would be unthinkable 7-8 years back. The fact that HAUNTED – ECHOES OF THE PAST is better in the Hindi belt is no surprise as that can be expected especially as far as initial goes and it would have been same years back also.

There will be whispers in the industry that the issue here is the audience as they support a lower quality product against a well made film. But cinema in India has never been about which is made better and visually looks better. Its always about the content and emotion and here HAUNTED probably has something to get the audience in and also engage them enough for the film to work at its level. Its always the audience which decides what is a good film and what is a bad film and not the industry or people/media who write about films. These are all opinions and have no value whatsoever, only results hold value.

HAUNTED – ECHOES OF THE PAST will score a decent weekend and just needs to follow through with normal trends over the weekdays and will be a success.

The collections of the films released this week are as follows.

Friday - 2,25,00,000 apprx

Saturday - 3,00,00,000 apprx

Friday - 1,10,00,000 apprx

Saturday - 1,85,00,000 apprx

Friday - 70,00,000 apprx

Saturday - 1,15,00,000 apprx

Friday - 75,00,000 apprx

Saturday - 1,00,00,000 apprx

What was meant to be a high-energy promotional stop for Cocktail 2 in Pune reportedly descended into chaos after an overwhelming crowd forced organisers to cut the event short.

Shahid Kapoor, Kriti Sanon, and Rashmika Mandanna were scheduled to spend nearly 40 minutes at Phoenix Market City in Viman Nagar on Friday (June 12), but the appearance reportedly lasted barely 10 minutes after fans broke through barricades and surged towards the stars.

“It became impossible to control the crowd within minutes. People started pushing from all sides and barricades gave way,” an eyewitness told mid-day.

Another witness added, “The actors could barely spend any time on stage. Security immediately stepped in and to move them out once the crowd surged forward.”

Sources claim Shahid’s clothes were torn in the commotion as security personnel rushed the trio to safety. “There was a lot of screaming and pushing. Fans were trying to get as close as possible to the stars. The security team looked overwhelmed for a few moments,” said another eyewitness.

The frenzy reportedly led to traffic snarls around Viman Nagar and Nagar Road, with crowds continuing to gather even after the actors had left. Insiders say the team has since increased security for upcoming public appearances.

“More security personnel are expected to be present with the actors during future promotional events,” a source said.

Amid the chaos, a video that surfaced online showed Kriti Sanon holding on to Rashmika Mandanna and guiding her through the crowd as security struggled to create a passage. Netizens praised Kriti’s protective gesture, with many likening her to an “elder sister” looking out for her co-star.

Filmmaker Anil Sharma says he knew Gadar: Ek Prem Katha would become a landmark the moment he first heard the script, and 25 years later, he feels it is “still alive in people’s hearts”.

“The day Shaktimaan Talwar narrated the story, I knew it had the potential to become India’s biggest hit film… I tried to make it at the level of Mother India (1957), Mughal-e-Azam (1960) and Sholay (1975),” he says, adding that the film recorded nearly 10 crore footfalls, a feat unmatched even today. “Even Gadar 2 had half of this footfall,” he adds.

Recalling its 2001 release alongside Aamir Khan’s Lagaan, he says, “There was no competition like today… people would watch one film and then another back-to-back. Woh marketing nahi, woh dil ka daur tha.”

On Gadar 3, he teases, “Gadar ki story ek bomb thi, sab kahte rahe par Gadar 2 tab bani jab ek atom bomb story mili. Now, Gadar 3 will only happen if we have a nuclear bomb story. We are working on the script and God-willing if all goes on track we will start it next year!”

Filmmaker and trade expert, Girish Johar recalls that Gadar was already carrying tremendous buzz before its release. Its music had become popular and audience anticipation was high. In comparison, Lagaan appeared to be lagging initially.

“People couldn’t quite understand what Lagaan was about from its early promotional material. The creative images showed 11 men in rural costumes. And at the time, (Gadar director) Anil Sharma was a far more commercially successful director than (Lagaan director) Ashutosh Gowariker, so the odds were largely in Gadar’s favour,” he says.

Johar adds that Lagaan’s lengthy runtime also posed challenges. “Being a three-hour film, only a limited number of shows could be accommodated. There was also confusion over whether the film would have one interval or two. But the clash itself was incredibly exciting. Exhibitors were eager to screen both films, but show-sharing wasn’t common in single-screen theatres then. It was a tough call which film to screen, but all these are now fond memories.”

Nitin Datar, former president of the Cinema Owners and Exhibitors Association of India, recalls that many single-screen theatres preferred allocating more shows to Gadar during its initial run.

Explaining the reason, he says, “Gadar was an action film in which the protagonist takes on Pakistan’s police and political leaders. It evoked national sentiments among the audiences. I still remember people shouting ‘Bharat Mata Ki Jai’ inside theatres.”

He points out that Lagaan also carried a patriotic undercurrent, though in a very different way. “Lagaan was also rooted in national pride, but the conflict was against the British and was expressed through a cricket match rather than direct action. But ultimately both the films did well.”

- Lagaan became the first Hindi film to be shot using sync sound which means that dialogues and sounds were recorded live during the shoot itself.

- Lagaan travelled to various international film festivals across the world but more importantly, it was nominated in the Best Foreign Language film at the Oscars 2001. The film’s selection was a moment of pride for Hindi cinema as it was for the first time that a commercial film had been nominated at the Oscars.

- Lagaan was the maiden production of Aamir Khan’s production house.

To mark its 25th anniversary, Lagaan returned to theatres for a limited three-day re-release on June 12, 13 and 14.

“Twenty-five years on, Lagaan remains one of Indian cinema’s defining achievements. Its return to theatres is both a celebration of the film and an opportunity for audiences to experience the scale, ambition and storytelling that make cinema timeless,” says Niharika Bijli, Lead Strategist, PVR INOX Limited.

Meanwhile, Gadar enjoyed a successful re-release in 2023, becoming one of the highest-grossing Bollywood re-releases in India. According to trade experts, the film earned an impressive Rs. 7.78 crore during its repeat theatrical run.

Sunny Deol’s ‘handpump scene’ in Gadar: where his character Tara Singh uproots a hand pump and uses it as a weapon became iconic. What was intended as an over-the-top display of emotion and strength became one of the most recognizable images in Indian pop culture.

- Natasha Coutinho

Filmmaker Anurag Kashyap has voiced his frustration over the way theatres are giving limited screen space to Indian films while continuing to schedule multiple shows for the Hollywood horror film Obsession, released on May 29.

Sharing his concerns on Instagram Stories (inset above), Kashyap said the issue was not the film’s popularity but the lack of visibility for local releases. “If we don’t priorities our own films with better showcasing, then I don’t understand how we will grow,” he wrote.

Kashyap noted that his recently released film Bandar faced a similar challenge last week, while Main Vaapas Aaunga, Sing Geetham and Governor are now struggling to secure enough screens.

However, social media reactions seem divided on the matter. While some agreed with Kashyap, others think that quality content is what is missing from the Indian film industry.

A user commented, “You are making boring films like Bandar, what to say.” Another wrote, “He has almost everytime delivered good content...We should genuinely prioritize our own cinema.” One person shared, “First learn to give quality content then speak about showtimes. Don’t teach theatres how to run.”

Kashyap’s comments come amid a crowded box-office weekend that saw nine films release on the same day: : Main Vaapas Aaunga, Governor, Bharat Bhhagya Viddhaata, Haunted 3D, Sing Geetham, Varavu, Disclosure Day, Backrooms and Heer Sara, raising concerns about screen availability and the impact on smaller titles during their crucial opening weekend. 

What happens when some of Indian cinema and television’s most accomplished female actors come together for a whodunnit? Margao Files, which premièred on the Waves platform on Friday (June 12), attempts to answer that question with an ensemble cast led by Zeenat Aman, Suchitra Krishnamoorthy, Pallavi Joshi, Kitu Gidwani, Shilpa Shinde, Pervein Dastur, Tannaz Irani, and Mahabanoo Mody Kotwal. 

The film is set against the backdrop of a wealthy but dysfunctional Catholic family in Margao, Goa. Director Kapil Kaustubh Sharma said the concept was driven by his desire to create an Indian mystery led entirely by women.

“There has never been any Indian mystery where all the primary characters are women and with various interesting shades. I knew it had to have only brilliant actresses as only they would be able to carry these unconventional characters,” he said.

Sharma revealed that Kitu Gidwani’s detective, Miss Rose Briganza, was subconsciously inspired by Agatha Christie’s iconic sleuths. Zeenat Aman plays Sylvia White, whom Sharma describes as “a graceful, classy rich Goan lady who has turned into an alcoholic”.

Pallavi Joshi, he added, appears in a role unlike any she has played before, while Shilpa Shinde essays a tough police officer. Tannaz Irani, meanwhile, welcomed the chance to play a constable, saying, “I have never played a constable and I couldn’t pass up such a powerful and exciting role coming my way.”

Tajikistani singer and influencer Abdu Rozik, known for his stint in Bigg Boss 16, has accused his former management team of withholding his earnings and misappropriating his income. “I worked with them for three or four years. They helped me grow, but the money from the shows I did, they took it. I didn’t get paid a single dollar for Bigg Boss. They scammed me badly,” he said on the House of Zen podcast.

He added that he was often underestimated due to his stature. “I guess because of my height, people underestimate me and think they can fool me,” he added. Rozik also clarified that he does not own a house or car but continues to support his family of seven despite financial struggles.

“I have a growth hormone condition, and I am proud that despite everything, I am supporting seven people in my family,” he stated. Reflecting on the betrayal, he concluded by emphasizing the importance of caution in business dealings: “My only request is for people to be honest and work clean. We need to be very careful about who we trust.”

Actor and reality TV star Prince Narula has been accused of financial misconduct by rapper Hitzone, who alleges he was not paid for his creative contributions to two songs, including Bang Bang. To support his claims, the rapper shared voice notes on social media, alleging that Narula has repeatedly avoided fulfilling payment promises.

In a YouTube video, Hitzone questioned the ethics behind the situation: “I want to ask: are rappers earning money? Or are Roadies judges earning money? If they are earning, why are they withholding an artist’s dues?,”highlighting his frustration over the lack of compensation.

He alleged the dispute involves Bang Bang, released on Narula’s YouTube channel, and another unreleased track that has already been filmed. Hitzone also claimed that despite prior payment discussions, Narula’s team delayed the process and later said the matter would be addressed after he returned from the reality show The 50.

There is a reason Imtiaz Ali’s stories linger. Beneath the romance, music and heartbreak lies a deeper search — for home, for meaning, for the versions of ourselves we leave behind as we move through life. With Main Vaapas Aaunga, inspired by an emotional return to his childhood home, the filmmaker once again turns inward, exploring memory, longing and the ache of belonging.

In this conversation, Imtiaz reflects on love and loss, the purity today’s generation is searching for, and the invisible pull of the past. He reflects on why the stories that stay with us are often not born from cinema, but from life itself.

There’s beauty in that because it brings you to yourself. The yearning, therefore, sometimes cannot be cerebrally understood. Everyone always feels that they have left something behind, in whatever they might have achieved. You feel…kya choot gaya? Inevitably, you want to go back to that. I guess the feeling of who we were is something we can never leave behind, however far we go.

I feel the simplistic answer is that it’s the being consumed that liberates you. It’s the surrender that liberates you. You realise your power when you surrender. And it’s easier said than done. In love, you’re constantly engaged with yourself. You are constantly talking to yourself. I’ve noticed that people who are in love with different women at different times in their lives, are in love in the same way. They yearn in the same way. If somebody is, let’s say, obsessive, then they will be obsessive in every relationship of theirs. They will try to find someone to shower love and affection on, and become obsessive about. The thing is, I don’t have answers about love or life, if I had answers, I wouldn’t be making movies.

I don’t think I’ve found anything from my movies (laughs).

I am not. These words like romantic, philosopher and all of that sound very boring to me. I don’t know why I have this image. Tell me, how do I break this image?

Oh, I love the work of music. I don’t listen to music too much, but I’ve always been a fan of music in films – whether it’s being part of the making of the song, the background music or shooting to music. The biggest thrill of shooting for me is when music plays on a set. I am the director who prays every day that we are not forced to reduce or remove music from films. For romantic movies, sometimes we connect to the music first and then the story.

He has somehow kept himself pure. He’s connected to himself and for that reason, he has not done many things that other people do. He is not like an actor who’s standardized in a certain way he lives. He doesn’t care for the obvious things, but some other things. Like, when we were starting out with Chamkila, we had to postpone the shoot, because of which one and a half months of his dates got wasted. I called him and told him about the problem. He said, ‘Koi nahi paaji. Main chala jaunga. Main solo trip pe chala jaunga pahadon mein. Problem hi nahi hai. Meri taraf se toh ho gaya.’ I said, ‘Lekin aapke days waste ho gaye.’ He said, ‘Arey, waste thodi hote hain dates. Mujhe jaana tha pahadon mein, toh solo trip pe chala jaata hoon.’ So, he went ahead and did whatever he wanted.

I feel you can be very lonely in the present world. There is so much noise all around us that it’s difficult to talk and communicate. I believe this generation is seeking much more than before. For instance, today getting intimate with a girl or a guy is not difficult. Previous generations were distracted by the thought, as they knew that they would get intimate after marrying the person. Now that happens early on, they get over it and they aren’t lusting anymore. Lust is out of the park. What this generation is seeking is pure. They are digging deeper and are truly trying to find meaning. It’s just that they are very lost.

I believe that the film industry is actually better than most other places in the world, because there are drifters and dreamers here. And no matter how smart they pretend to be, at the end of the day, all of these great guys in the film industry who talk about numbers and all of that, they are basically dreamers and drifters. What they want to do is to huddle somewhere and talk about cinema (laughs). This is what I have realized. Otherwise, it wouldn’t be possible for a rank outsider like me to be here. It must have been the kindness of some people that gave me my first step, my first break, right? The world is what it is, but I feel that the film industry is better, really, than most of the other parts of the world.

There was a point when I went home to the place which I call home, which was just a company quarter in Jamshedpur where I grew up. My earliest memories are from there. It was a rented place, but every time I think of home, I think of that place. One day, I went back there with my dad and I got so overwhelmed, I just went straight inside the house and in the courtyard, and obviously the present occupants found it strange. The courtyard had changed; that whole area seemed like it had changed, and something came over me, and I broke down. I never cry, in fact, my mother feels there’s something wrong with my system. But I broke down. I kept asking myself…what happened here? There was this sense of loss, but it’s not as though I’ve lost something.

For me, it’s impossible to show something clean and perfect because I would have no reference. If you asked me to make a clean love story with no heartache, I wouldn’t know where to begin because I’ve not seen it in my life, and I don’t think it exists. I don’t go out to make love stories, really. I make stories where people have various emotions and I follow those characters and see where they come at. And sometimes, of course, there’s an echo of what I’ve seen and felt, since I don’t draw from cinema as inspiration, I draw only from life as inspiration. Yes, I feel relationships are messy sometimes. They have the potential to be messier if the film duration were longer.

Thank God for Dhurandhar. We are allowed longer films now (laughs).

I don’t think that era of romances can go away. A prominent producer recently told me, ‘Imtiaz ji, good love stories always run. If there are more action films being made, then that is the time to make a good love story.’ I think that is true. There will always be a Qayamat Se Qayamat Tak, and suddenly, you won’t even remember the other movies around you. I’m not saying that films of other genres are not good, but somehow, the memorability of a Qayamat Se Qayamat Tak or Maine Pyar Kiya is much more.

DHURANDHAR THE REVENGE still continues to run it is twelfth week as it heads for a 1007 crore nett finish. The film could even make it to a 100 day run in a few cinemas and it will be not be the only film to do that in recent times. There are no films which take such a huge initial in then remain in cinemas for 100 days. The film is going to do more business post the tenth week then the first part of DHURANDHAR where the opening was nothing like DHURANDHAR THE REVENGE.

The film has hit so many benchmarks with big ones being 1000 crore nett and 4 crore footfalls. The film has also made Aditya Dhar the biggest director in the country with the only competition being the director of ANIMAL, Sandeep Reddy Vanga. So the wait is for next year and SPIRIT to see how this equation plays out.

Another huge record is West Bengal circuit as the first DHURANDHAR was an under performer in this circuit which is understandable when its a Hindi belt outperformer like GADAR 2, PUSHPA 2 - THE RULE or KGF - CHAPTER 2. But DHURANDHAR, driven by big plex heavy circuits, should have had higher figures in West Bengal. An All Time Record here was a task but eventually DHURANDHAR THE REVENGE got there. West Bengal was also a circuit where either DHURANDHAR 1 or PUSHPA 2 - THE RULE did not hold the record. Here it was the 2023 blockbuster JAWAN.

The film is the biggest blockbuster for Hindi cinema since GADAR in 2001. The film is being put up there with the likes of SHOLAY and GADAR's first part but only time well. The film is not as big as those on release and more importantly those two passed the test of time like very few before. SHOLAY remained a theatrical force many years after release and there is not much to say about GADAR (2001) as the results of GADAR 2 released 22 years later say it all. Even if it is said what DHURANDHAR THE REVENGE has done today is similar to what SHOLAY did 1975 or GADAR did in 2001 (though it is not) the harder part is to remain huge with another generation all together in years to come. This is what very few films manage.

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

Week One - 5,90,36,00,000

Week Two - 2,28,97,00,000

Week Three - 95,45,00,000

Week Four - 49,33,00,000

Week Five - 18,32,00,000

Week Six - 11,37,00,000

Week Seven - 5,35,00,000

Week Eight - 3,45,00,000

Week Nine - 1,97,00,000

Week Ten - 1,30,00,000

Week Eleven - 81,00,000

Week Twelve - 25,00,000 apprx (5 days)

PEDDI (Hindi) did dull business in its first weekend as it collected 9 crore nett and this was over four days and not the normal three day weekend. The film could not even do well in the likes of Maharashtra, CP Berar and Gujarat where the south dubbed content has scored better. Odisha can be called decent but that is a very small circuit.

As mentioned before, the South dubbed films are going to find it tougher as the audience sees similarity in the look and feel of most of these films. The Hindi release would not matter much to this film if it was not made at such a cost. The home market of Nizam/Andhra has done pretty well and that would have been enough but with this sort of budget, you are looking at a break out somewhere and because of past instances, the Hindi market becomes the most likely contender.

There will be no break out here and the film will have to settle for limited returns the Hindi market. The results for the film are much better in Nizam/Andhra and Mysore/Karnataka but that was always likely. The all India business of the film will be in the 140-145 crore nett range which is decent enough for the film if it can go on from here. This 140 crore nett plus figure has come over almost 5 days.

Thursday - 2,50,00,000 apprx

Friday - 1,65,00,000 apprx

Saturday - 2,00,00,000 apprx

Sunday - 2,75,00,000 apprx

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PEDDI has done well in its home market of Nizam/Andhra but the overall picture is middling due to the costs of the film. The best comparison for this film is the 2024 release DEVARA, which emerged a HIT film. Both have similar costs and are also in the same zone. PEDDI stands at 155.50 crore nett after its Monday business and DEVARA after Monday also stood at a similar mark of 157 crore nett.

The difference being that DEVARA released on Friday and it was four days while here the film was released on Wednesday evening and its been more than five days. The lifetime business of DEVARA was 265 crore nett plus and it looks it will be difficult for PEDDI to reach that total. The Monday business of both films is pretty similar as well with PEDDI actually being better in Nizam/Andhra.

Its down to Nizam/Andhra going on a run otherwise it will be the Hindi version that will be the difference between the two films as DEVARA did almost 60 crore nett and here it looks like 20 crore nett. From the trailer, PEDDI looks like a regular Telugu film with better production values than normal but the costs are such it needs some support outside the regular Telugu market. As this support is not there, it will turn out be an average success rather than HIT unless Nizam/Andhra goes on a run.

The collections of PEDDI across India on all versions are as follows.

Paid previews - 17,50,00,000 apprx

Thursday - 46,00,00,000 apprx

Friday - 25,00,00,000 apprx

Saturday - 27,00,00,000 apprx

Sunday - 29,00,00,000 apprx

Monday - 11,00,00,000 apprx

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PEDDI (Hindi) remains poor as it collects around 11.50 crore nett in its first five days and looks to be a heading for an extended first week of 13.50 crore nett. The 20 crore nett mark for lifetime business looks difficult for the film due to the multiple releases on Friday. The film has faced rejection as far as the Hindi circuits go. The collections on Tuesday were around 1.35 crore nett.

The business in the bigger multiplexes is extremely dull but even the mass pockets are not good be it Maharashtra, UP or Gujarat. The only place which is somewhat decent is Odisha. This 1.25-1.50% contribution circuit may end up with more than a 8-10% contributing East Punjab.

The results continue to be better in the South as the film collects 164 crore nett in six days across India but the dull Hindi business is going to tell on the final figure of the film. The business in Nizam/Andhra is around 130 crore nett including the Hindi version.

The collections of PEDDI (Hindi) are as follows.

Thursday - 2,50,00,000 apprx

Friday - 1,65,00,000 apprx

Saturday - 2,00,00,000 apprx

Sunday - 2,75,00,000 apprx

Monday - 1,10,00,000 apprx

Tuesday - 1,35,00,000 apprx

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PEDDI (Hindi) could not do much in the first week as it collected 13 crore nett which is over eight days and not the regular seven days. GAME CHANGER has collected around 24 crore nett in its first week with the same star but in that film, there was a fiddle with the initial collections. The last day of the week is actually more for PEDDI than GAME CHANGER despite it being day eight for the former and day seven for the latter. The collections of PEDDI (Hindi) are clean.

The film will not get to 20 crore nett from here and even if we take out the fiddle for GAME CHANGER, it will still be doing less business than that film. Its a different story in the South where the film has done well and its all India collections for the extended first week will finish up in the 180 crore nett range with bulk of the contribution from Nizam/Andhra.

Despite the South doing well, it is not enough to compensate for the dull showing in Hindi. The Hindi version would hardly matter if it was a regular Telugu film. It does look a regular Telugu film but the costs are not like a regular Telugu film. So, it had to do much better in Hindi and that is likely to be the difference between a HIT film and AVERAGE fare which this film will probably end up becoming.

The collections of PEDDI (Hindi) are as follows.

Thursday - 2,50,00,000 apprx

Friday - 1,65,00,000 apprx

Saturday - 2,00,00,000 apprx

Sunday - 2,75,00,000 apprx

Monday - 1,10,00,000 apprx

Tuesday - 1,35,00,000 apprx

Wednesday - 90,00,000 apprx

Thursday - 85,00,000 apprx