A blockbuster is often expected to change the fortunes of everyone associated with it. After playing Ranbir Kapoor’s brother-in-law in Animal (2023), Siddhant Karnick believed the film would finally mark the breakthrough he had spent two decades working towards. Instead, what followed was eight months of complete silence.

Looking back at the period after Animal, he says, “I’d had a strong year with appreciation for my performances in Adipurush, Made In Heaven and then Animal to close the year. After Animal, I expected the floodgates to open. I thought, ‘Two decades of grinding, it’s finally paying off.’ I waited eight months. Let alone offers, there weren’t even any enquiries. My phone didn’t ring at all. That’s when I realized nobody was coming to give me opportunities. That slap to my fantasy was the best thing that could have happened because it forced me to shift my approach. I stopped thinking like an actor and started thinking like a producer. The difference now is that I’m not waiting for the phone to ring. I’m the one making the calls.”

The setback also prompted Siddhant to take charge of his own career. Since then, he has acted in two French films, an English film as the lead, and has a commercial release slated for December. One of those projects, the French short film The Diggers, earned him two Best Actor awards.

He says, “After two decades in this industry, I realized the best way to have control over your career is to create your own opportunities. Jean Louis Carrasco was the first filmmaker I reached out to. We’ve been creative collaborators for 18 years, ever since a passion project short film that won at the Bodega Film Festival and was selected for the Cannes Short Film Corner. Together we developed The Diggers, a 24-minute suspense thriller about an Indian immigrant in Paris who gets pulled into the Parisian underworld. What we’ve shot is essentially Act Two of a feature film, with Acts One and Three currently in development.”

While the recognition has been gratifying, Siddhant believes its true value lies in what it signals to the industry.

“The awards are gratifying, but more importantly, they’re validation. They tell financiers and distributors that this team, this story and this execution have both commercial and critical viability. That’s what matters to me at this stage of my career,” he concludes.

DHURANDHAR THE REVENGE has smashed the record for Hindi films across India by a huge margin of 30% but it has turned out to be no competition for PUSHPA 2 - THE RULE in CP Berar as the latter is around 27-28% better. DHURANDHAR THE REVENGE has done extraordinarily well in the circuit but the collections of PUSHPA 2 - THE RULE were something else due to the appreciation of PUSHPA: THE RISE - PART 01 in the centers of CP Berar.

There are other circuits where DHURANDHAR THE REVENGE is second best to PUSHPA 2 - THE RULE like Rajasthan, CI, Bihar and Odisha and also sub circuit Gujarat but the gaps are nothing like CP Berar. Even an Odisha, where the gap was most likely to be the highest, is only 15% less but it can be due to a Telugu version of PUSHPA 2 - THE RULE in play in the circuit. Both CP Berar and Odisha have a history of out performing for South films. Even that 80's phase where they were not South films but Hindi films made by South producers/directors tended to do better in these circuits.

DHURANDHAR THE REVENGE may not be the top grossing film in the circuits mentioned above but to be close to a PUSHPA 2 - THE RULE in the likes of Rajasthan, CI, Bihar and Gujarat is actually a huge achievement in itself as the former is not a mass film like the latter and that can be seen by the collections in the smaller centres of these circuits. It is the bigger centres of these circuits be it a Jaipur, Patna or Indore which have taken it close to the PUSHPA 2 - THE RULE collections. The biggest film in the circuit ever is SHOLAY (1975) like in most circuits while second place you would give to HUM AAPKE HAI KOUN (1994). This century, it would be GADAR (2001) followed by PUSHPA 2 - THE RULE.

The all time top ten grossers in CP Berar are as follows.

1. Pushpa 2 - The Rule - 56,07,00,000

3. Baahubali 2: The Conclusion - 34,84,00,000

4. Chhaava - 34,40,00,000

5. Dhurandhar - 33,79,00,000

6. Gadar 2 - 32,32,00,000

7. Stree 2 - 30,70,00,000

8. KGF - Chapter 2 - 28,03,50,000

9. Animal - 23,86,50,000

10. Jawan -22,14,00,000

-------------------------------------

DHURANDHAR THE REVENGE has emerged the highest grossing film ever in West Bengal which did not look like happening on release. It was pretty much certain on day one that it would be the top film in North India, South India and probably Mumbai as well though Central and Eastern side would be tougher. It has not got to the top in any circuit in the Central circuits of Rajasthan, CP Berar and CI but has managed to be number one in West Bengal and Assam in the East.

The record in West Bengal was a big one as JAWAN had a big total which was 9 crore nett higher than anything else and West Bengal had been one of the weaker circuits for DHURANDHAR. Compared to JAWAN, it has underperformed in West Bengal but that is more to do with the Shah Rukh Khan factor who is by far the biggest star in the circuit. It can be seen below that it is JAWAN and PATHAAN that have out performed in this circuit. So, despite the star factor not being what it used to be, it still pays a part but its area by area an is not across the board.

There is also WAR but had advantage of Puja week and its possible that Hrithik Roshan is next most popular star here after Shah Rukh Khan. DHURANDHAR also has that Punjabi base which historically has never worked that well in West Bengal but the series overcame that too as well due to the content. DHURANDHAR THE REVENGE is practically at the end of its run and will finish at around 44.25 crore nett as its hardly playing in the circuit now.

The top ten grossers in West Bengal are as follows.

2. Jawan - 43,68,50,000

3. Pushpa 2 - The Rule - 35,32,00,000

4. Pathaan - 34,95,00,000

5. Dhurandhar - 32,56,00,000

6. Stree 2 - 28,18,00,000

7. Baahubali 2: The Conclusion - 27,47,00,000

8. KGF - Chapter 2 - 24,77,50,000

9. War - 22,89,50,000

10. Animal - 19,69,00,000

DHURANDHAR THE REVENGE has emerged the second highest grossing Hindi film ever after PATHAAN as it collects $47 million plus and this includes Nepal as the general figures from the overseas distributors will not include this. The collections without Nepal are $46.375 million till date. The film has finished a little short of PATHAAN but with a Gulf release, it would have been way ahead. In terms of INR, it is the highest ever due to the ever weakening Rupee. It has a gross of 438 crore compared to the 396 crore of PATHAAN.

It would have become the first film to cross $50 million and maybe even $60 million. Its hard to judge how much Gulf would have done. JAWAN is best with $17.70 million and if we take that figure, it would be $65 million for DHURANDHAR THE REVENGE but its an unknown how much it would have done in Gulf. You can probably say $10 million was certain and $20 million was potential as the Muslim crowd may have been compensated by the South Indian crowd like its happened in UK but this is an unknown and will remain that way.

JAWAN would be in second place if we count the collections from the regional versions but that's going away from the Hindi film and in that way there are many films which got a Far East release which are ahead with Dangal on top at $233.80 million. The Far East countries may well be showing a Hindi subtitled or dubbed version but generally its not the same as the original Hindi film. In this way DHURANDHAR THE REVENGE is the eighth highest grossing film overseas. 

The business of DHURANDHAR THE REVENGE easily puts that $50 million target up for grabs for the original film and there are a couple of big films later on this year which can target that figure.

The top ten grossers Overseas for original Hindi films are as follows.

1. Pathaan -$48,500,000

3. Jawan - $46,800,000

4. Dhrandhar - $32,00,0000

5. Dangal -$30,700,000

6. Padmaavat - $29,140,000

7. Bajrangi Bhaijaan - $28,640,000

8. Dhoom 3 - $28,330,000

9. Animal - $27,210,000

10. Dilwale - $26,580,000

DHURANDHAR THE REVENGE smashed all records in Canada as it has collected almost $10.8 million till date which is a record by a distance and the first $10 million Indian film in the country. The film beat the record of DHURANDHAR by over $3 million and ANIMAL, by $3.7 million which are second and third best.

The market has grown by leaps and bound post the pandemic and is the fastest growing market for Hindi films in Overseas. There was a time 8-10 years back when $2 million was a big mark in Canada and here you have a film crossing $10 million. The share of Canada from the US/Canada market is 31% for DHURANDHAR THE REVENGE. This is roughly the average today though if the film has less of a gentry audience, then Canada can go up as USA has a bigger market for gentry films.

DHURANDHAR THE REVENGE has not beaten the BAAHUBALI 2: THE CONCLUSION record in USA alone as that was $19.9 million and DHURANDHAR THE REVENGE will be $17.5 million. But BAAHUBALI 2: THE CONCLUSION was only $275k in Canada while DHURANDHAR's sequel will be $7.9 million (USD) giving it $25.4 million total as compared to $20.175 million of BAAHUBALI 2.

Below are the all time top grossers in Canada. All figures are in CAD $.

2. Dhurandhar - $7,700,000

3. Animal - $7,103,000

4. Pathaan - $6,054,000

5. Jawan - $5,278,000

6. Pushpa 2 - The Rule - $4,218,000

7. Stree 2 - $4,213,000

8. Jatt & Juliet 3 - $3,860,000

9. Kalki 2898 AD - $3,623,000

10. Rocky Aur Rani Kii Prem Kahaani - $3,281,000

Rakesh Bedi has built a career on consistency and craft, quietly shaping performances that linger long after the scene ends. With Dhurandhar, his portrayal of Jameel Jamali has once again drawn attention to a range that has always existed, even if not always fully tapped. Over the years, he has been part of films like Coolie No. 1, Gadar 2 and Teri Baaton Mein Aisa Uljha Jiya, as well as popular television shows including Yeh Jo Hai Zindagi, Zabaan Sambhalke, Shrimaan Shrimati, Yes Boss, Bhabi Ji Ghar Par Hai and Taarak Mehta Ka Ooltah Chashmah.

He shares, “When the first installment was released, I had said this film will not just raise the bar but break the bar because people will see it baar baar (laughs!). That was my gut feeling after seeing kis shiddat aur mehnat se yeh film banaayi jaa rahi thi. After watching my work in it, the feeling was like having a good feast. I felt full and satisfied.”

For Bedi, the size of a role has never defined its value. He says, “It’s not important whether you are playing a big role or a small one. Bobby Deol scored in a role that may not have been the lead in Animal. It’s about leaving an impact. Aapne kuchh kiya ki aadmi bole ki ek scene mein kamaal kar diya. I had the opportunity to do one scene in Uri, and Dhurandhar has been a result of that.”

He also points to the importance of filmmakers who are willing to see beyond familiar labels. He says, “Rarely does a filmmaker say he wants only one actor and is willing to wait. When a director shows that kind of confidence and says, ‘I only want Rakesh Bedi,’ then the actor feels, ‘Ab toh main bhi jaan laga doonga’. You have to repay that faith.”

Expectedly, ‘Dhurandhar The Revenge’ has taken the box office by storm. By the evening of March 22, the Ranveer Singh-starrer collected about Rs 440 crore, including its paid previews, in the domestic market. The film’s run is far from done. According to trade analyst Taran Adarsh, director Aditya Dhar’s action drama could cross the Rs. 1000 crore mark in domestic collections.

“Like the first part, ‘Dhurandhar 2’ has come like a tsunami. I am confident it will cross Rs 1000 crore in the domestic market. Many theatres are facing capacity issues where there are more people to watch the film [than shows]. The demand will spill over to Monday,” Adarsh told mid-day.

Given its unstoppable run, trade is buzzing with speculation that the movie could beat the worldwide collection of Aamir Khan’s ‘Dangal’ (2016) to become the biggest grosser of Indian cinema. “It cannot be ruled out right now,” said Adarsh.

However, sections of the audience have criticized the movie’s propagandist nature. Some also felt that it ran too long at three-hour-55-minutes.

About the polarizing reactions, exhibitor and trade analyst Akshaye Rathi said, “Whether it’s ‘Dhurandhar’, ‘Animal’ [2023], or ‘The Kashmir Files’ [2022], they wouldn’t have done that kind of business had those polarizing opinions not come into play. The more [the opinions are] polarized, the more it creates a debate and generates curiosity among people to see what the hype is all about.”

DHURANDHAR has smashed records in Mysore by crazy margins as the film stands at around 69 crore nett which is 20 crore nett more than JAWAN, the previous record holder. JAWAN itself set a record by a considerable margin. Not only that, the film will be beating all the the local Kannada films released in 2025 apart from two of them and here its Mysore for us and Karnataka for them which includes all of the state while for us, some of the state goes into Mumbai circuit.

The circuit has shown immense growth post pandemic and this is reflected by the fact that a film like FIGHTER gets 20 crore nett in the circuit and stands just outside the top ten which is more than films like SANJU and SULTAN from before the pandemic. Actors like Aamir Khan, Shah Rukh Khan and Hrithik Roshan are stronger in this circuit and this could be another reason why FIGHTER did well here also but no doubt the circuit has grown.

If we count all films including the South ones, then this Mysore collection will be just outside the top ten but if we add the numbers of North Karnataka, which is in Mumbai circuit, then the film will be among the top ten grossing films in the state. Now with the second part this figure could go even higher and if the does three times DANGAL, its pretty much unthinkable as that film was considered insane in the circuit pre pandemic and now here is a film which may do three times the business.

The top ten grossers in Mysore are as follows.

2. Jawan - 48,24,00,000 

3. Animal - 36,69,00,000

4. Pathaan - 35,77,00,000

5. Stree 2 - 33,08,00,000

6. Chhaava - 31,00,00,000

7. Dangal - 27,81,00,000

8. Uri - 25,00,00,000

9. Padmaavat - 23,87,00,000

10. PK - 23,85,50,000

Such is the popularity of Animal (2023) among Ranbir Kapoor’s fans that they’ve kept their eyes peeled for Animal Park. As the superstar recently united with director Sandeep Reddy Vanga for a virtual press meet, ahead of the blockbuster’s release in Japan on February 13, the duo talked about the way ahead for the franchise.

Expressing his excitement to play two characters — Rannvijay and his cousin Aziz — in the sequel, Kapoor said, “I can’t wait to get back on set with Sandeep and play these characters. Sandeep and I keep chatting through the week or month and keep discussing different ideas.” Vanga, who is currently helming Spirit, shared that Animal Park will go on floors by mid-2027.

Besides Rockstar (2011) and Barfi (2012), Animal has become a career-defining movie for Kapoor. The actor admitted that Vanga’s faith in him convinced him to say yes to a “scary character”. “Before this, I was always playing the lover boy and coming-of-age characters. When Sandeep narrated Animal to me, I found the character extremely scary to approach for an actor like me. But [thanks to] his confidence, I believed I could do it,” he said.

Ranbir Kapoor said he felt a deep bond with Japan, thanks to his late grandfather Raj Kapoor. “I have such a deep connection with Japan. One of my grandfather’s most popular songs around the world is ‘Mera Joota Hai Japani’,” he reasoned, adding that he now wants to take his daughter Raha to the country. “I cannot wait to show Japan to her.”

Filmmaker Tigmanshu Dhulia has major problems with the violence, bloodshed, hyper-musculinity and rough anti-hero looks of actors in most action-packed films today. Calling out heroes wearing demon-like looks in superhit films, he is surprised that they are doing well at the box office.

“The problem with today’s films, which are being made in abundance and are being loved by the audience, is with the angry characters! These KGFs, Kantaras and all show too much violence and bloodshed. This maar-kaat started with Baahubali (2015) and is just growing,” says Tigmanshu. He adds, “Bematlab ki maar-kaat rahe hain, khoon baha rahe hain! And, in a series, such films are coming and are being liked by the audience.”

Trying to decode their appeal, he says, “Probably, there is an anger in society and people are not able to vent it out, so they are maybe connecting with these films and liking them. I don’t understand the DNA of such films, but personally, I don’t like it at all.”

The filmmaker adds, “Anti-heroes are fine, but heroes ab rakshas ki tarah lagtey hain and youngsters like it and follow the trend. With such long hair and beards, they just look like rakshas we have seen in Ramayana and Mahabharata. Pata nahi kya ho raha hai!”

On the sidelines, when asked about skipping films like Animal (2023) —which has been singled out for its violence and other factors—he says, “Yes, that is also true and I don’t agree with certain things, but overall I liked the film!”

The filmmaker clarifies that his films, too, are alpha male films but exist within a framework of morality. “Yes, my films are typically alpha male films, and I admit that I can’t make (Sanjay Leela) Bhansali-type films! But, they draw a moral line – they won’t tease a girl, and if they do wrong, it will be for a bigger cause.”

He explains, “My characters are in search of freedom, and they question the authorities. Probably, that has come from the fact that Allahabadis (people from Prayagraj, Uttar Pradesh) don’t fear anybody, and that is a unique character of the people of the city. Since I was a kid, I have liked action, cowboy-type films, and that reflects in my characters, be it Haasil (2003), Paan Singh Tomar (2012) and others.”

Bobby Deol is as raw, honest and real as it gets. His reinvention as Lord Bobby is what stories are made of, but he carries his renewed stardom with quiet grace. The actor who marks 30 years in the industry this year, has reignited the audience’s interest with bold, dark roles – totally redefining the heartthrob Bobby of Barsaat and Bichhoo days. In the latest episode of Philips LatteGo presents Bombay Times Lounge powered by instax FUJIFILM, Bobby bares his heart and talks about stardom, family bonds, lasting friendships and his remarkable resurgence. Watch the full episode that just dropped on the Bombay Times YouTube channel.

The problem in the world is that people who are bad don’t think they’re bad, because if they knew that, they wouldn’t be bad. So, whenever I play negative characters, I don’t think I’m bad, because if you think that way, then your performance becomes unreal. You have to be the character. You have your own backstory about why you are reacting or feeling this way. If you really look at Animal, my past is sadder than Ranbir’s character. So, I thought about myself as a guy who wanted to protect his family, and for that, he would give his life or take others’ lives.

As an actor, OTT platforms gave me the opportunity to play characters I was seeking, which were outside my comfort zone and away from my image. I am very proud of Class Of '83, which many might not have seen because it released a week after Aashram. For me, the only thing that mattered was to be accepted as an actor, not a star.

I don’t think of myself as a star. I never do. I’m just a normal person who’s trying to do his job, and luckily, it’s a creative job. To be an actor, to be on a set and create different characters - that is what I really enjoy doing.

I got a phone call from their team saying, ‘We’re producing this web series and Aryan Khan is directing it, would you be interested?’ I just said, ‘I’m doing it’. Because I’m a father myself, I have kids (Aryaman and Dharam) who want to be actors, and I know how difficult it is and how much pressure there is. Whatever people say about the industry, we are very close-knit in many ways. We have a great bond, and we care about each other. I sat with Aryan for seven hours for the narration, and the conviction with which he narrated the whole story to me – I was just taken in by it. He was like this child. I call him a child because he’s like a child to me.

The funniest thing is, I never thought about all these things when I was starting out. I really didn’t. In fact, not for a very long time in my career. Later on, when people would say, ‘You were always under the shadow of your dad and your brother,’ and I would think, was I? I never felt it. I never looked at my career like that.

Yes, I have, and it has really helped me. Everyone is genetically different, and no one realizes how any kind of intoxication can affect you. And some people have those genes where you get addicted to things. I just decided that God has given me a second chance, and I really, really want to do my best. You don’t get these kinds of chances in life. The voice has to come from within. I think I’m a better person after I stopped drinking, and I think my relationship has become a hundred times better with everyone I know.

Talking about being directed by Aryan Khan for The Ba**ads Of Bollywood, he says, “Aryan is so mature in his thinking. He’s a real taskmaster and a perfectionist. It was like my own son telling me, ‘I want this, I want you to do it this way.’ If The Ba**ads Of Bollywood is what it is, it’s because of Aryan. He’s proved it to the world. With the pressure he was under… being a superstar like Shah Rukh Khan’s son, to have the guts to step out and have his own voice as a director – hats off to him. I feel so proud of him!”

"Life can never be easy, no matter how talented you are. There are so many cases of people being talented, but not getting work. And there have been cases of so many people who are not talented, but are getting work. But that shouldn’t make you want to make excuses or give up on yourself."

Title sponsor: Philips LatteGo

Powered by: instax FUJIFILM

Animal (2023) may not be the only franchise that filmmaker Sandeep Reddy Vanga is building. Even before his next, Spirit, with Prabhas has gone on floors, the buzz is that the filmmaker is developing the cop action film as a franchise.

According to industry sources, filming of the Prabhas and Triptii Dimri-starrer is slated to begin in February 2026. Insiders say that discussions are underway about embedding a cliffhanger at the end of Spirit, thus setting the stage for the second chapter.

A source tells mid-day, “The makers are planning to build a world centred on Prabhas’s cop. They are exploring whether the first part can end at a cliffhanger and leave the audience eager for what comes next.”

After The Raja Saab hits the screens in January, the actor will face the camera for Vanga’s directorial venture. The first schedule will be conducted in Mumbai, after which the team will head to international locations, including Mexico, Thailand, and Indonesia. The source adds, “A look test was done some time ago, and the makers have zeroed in on two distinct avatars for Prabhas. There is a flashback scene, which will be shot in the Mumbai leg.”

Ranbir Kapoor rang in his birthday with more than just cake and candles — he gave fans a front-row seat to his life and line-up of movies. During an Instagram live session, the actor dropped big updates: from Animal Park rolling in 2027, to Ramayana, and his much-awaited reunion with Alia Bhatt in Sanjay Leela Bhansali’s Love & War. The session flowed easily – with the actor talking about his big-screen ambitions to the everyday happiness of being with family.

Ranbir gave an update about Sandeep Reddy Vanga’s much-talked-about sequel to Animal. The actor revealed that Animal Park is expected to go on floors in 2027. “Sandeep has been interacting with me on the idea, the music and the characters. It’s just crazy and I can’t wait to be on set,” shared the actor who turned 43.

The actor also gave everyone a glimpse into his personal life, sharing how he spent the day with wife Alia Bhatt and daughter Raha. “Raha made me a promise that she would give me 43 kisses, and I got that. She made me a beautiful card, which really moved me. It’s been a perfect birthday,” Ranbir said with a smile.

On his birthday, Ranbir took a quick vacation with Alia, Raha and mom Neetu Kapoor, and daughter Raha.

“Had a wonderful birthday last night. The last two days have been great because I was with mother, Alia and Raha. I couldn’t have asked for a better birthday,” he shared.

The live chat wasn’t just about films — it was also about what truly inspires him. Ranbir revealed his current mu-sic playlist and said that Barbaad from Saiyaara is a song that “resonates deeply” with him. He also praised the soundtrack of Kalyani Priyadarshan’s superhero film Lokah , describing it as “just excellent.”

When quizzed about his long-discussed directorial ambitions, Ranbir admitted he’s closer than ever to making it happen. “I am dying to direct a movie. I’ve actually started a writer’s room recently and I’m working on two ideas. It’s definitely on my to-do list in the next couple of years,” he shared.

On Brahmastra 2, he assured fans that Ayan Mukerji is busy writing the script and updates will follow soon.

SAIYAARA is coming to the end of its run and surprisingly BIHAR has emerged the best circuit for the film as it does business of over 16 crore nett which is more than ANIMAL. The film is the seventh highest grossing film ever in the circuit with only two non action films in the list being STREE 2 and SAIYAARA.

Bihar is a circuit still dominated by single screens and that is why generally action films score here big time. Also, historically action films have fared best though musicals can also score in the circuit and this was seen in the 90's with a lot of films with the music of Nadeem Sharvan out performing here even though other circuits may not have done well. PUSHPA 2 - THE RULE is on top by a distance with 30 crore nett plus business while GADAR 2 and STREE 2 are the only other films to cross 20 crore nett. SHOLAY (1975) and KRANTI (1981) are probably the biggest films of all time in the circuit.

The performance of SAIYAARA will have a lot to do with the music as well but when a film like this becomes a huge blockbuster, you could not even dream that Bihar would be the best performing circuit. The circuit has done around 5% of the all India business but the potential is much more as it used to be a 10% circuit when all was equal. The major downfall started as tickets pricing moved higher in the late 90's and higher pricing was not viable in most of the centres in Bihar. Still, this is better than the 2-3% that the circuit went to in the 2005-2010 period though there is much more potential as most of the centres do not have multiplexes.

The top ten films in Bihar is as follows.

1. Pushpa 2 - The Rule - 32,60,50,000

2. Gadar 2 - 23,23,00,000

3. Stree 2 -  22,37,00,000

4. Jawan - 18,56,00,000

5. KGF - Chapter 2 - 18,35,00,000

6. Pathaan - 18,09,50,000

8. Baahubali 2: The Conclusion - 15,00,50,000

9. Animal - 14,94,50,000

10. Tiger Zinda Hai - 12,27,25,000

Ammy Virk, who recently completed a decade as an actor, says, “Ab senior si feeling aa rahi hai”. Grateful for the love, the 33-year-old, who began his career as a singer, shares singer-actor Kishore Kumar inspired him to try acting.

Reflecting on his 10 years in the industry, Ammy takes pride in his box office success. “You need your first few films to do well to mark your footing, and thankfully, mine did. Other than back-to-back hits, even today, my success ratio is 80-85%, which is rare. I have grown steadily and even ventured into films not typically linked with Punjabi cinema,” he shares.

Alongside stars like Diljit Dosanjh and Ammy, Punjabi artistes have found a pan-India presence and are thriving in Bollywood. Ask Ammy about this shift and he says: “Now we are being approached to play heroes and not just a Sardar in Bollywood. Till a decade or so ago, Sardars were used in Hindi films just for comedy or gags. We questioned why that was the only image shown. Over time, makers realised the potential of Punjabi stars and started casting real Sardars, which brings authenticity.”

He points to Animal (2023) as an example: “Vanga (director Sandeep Reddy Vanga) sahab cast actors from Punjab as (actor) Ranbir Kapoor’s cousins. Today’s writers and directors don’t think the way typical Bollywood used to. They are vying to get as close to reality. They also want ki aise characters se us region ki khushboo aaye.”

Unlike Punjabi, Ammy’s Hindi films haven’t been hits. Bhuj: The Pride Of India (2020) and ’83 (2021), underperformed, and his latest releases, Bad Newz and Khel Khel Mein (both 2024), were average. Yet, he remains confident: “The Mumbai industry knows my calibre and potential. The timing of my releases was dicey, but if given a chance, I will prove myself. Film success fluctuates, but an artiste’s talent doesn’t. Bas rate upar neeche ho jata hai.”

PUSHPA 2 - THE RULE in Hindi will finish its run with roughly 4 crore footfalls which has only been seen twice this century with GADAR 2 and BAAHUBALI 2: THE CONLCUSION and these two went over 5 crore. No other film has crossed the 4 crore mark with DANGAL being the best at 3.7 crore while before GADAR, it was RAJA HINDUSTANI in 1996 to hit 4 crore.

There are many films to hit 4, 5 and even 6 crore in the older days when cinema had less competition from other entertainment and also was the only option to watch films though population was also only half of what it is now which more than compensates. Basically the films held wide appeal in those days. PUSHPA 2 - THE RULE joins an elite group of around 15-20 films in history to get 4 crore footfalls.

This is a huge target that PUSHPA 2 - THE RULE has set as post pandemic, 4 crore seemed like an impossible target due to the dwindling audience coming to the theatres. There are four South films dubbed into Hindi in the list and are probably more to come in the next few years especially if sequels of liked films are released. A realistic target for most of the big Hindi films will be 3 crore as GADAR 2 also looks a one off as that sort of single screen business can be written off for most films.

The box office number of GADAR 2 could have been higher with better multiplex pricing and footfalls could have been a little higher as well if it was not released in a crowded period. But as mentioned before, this is probably a one off and its 3 crore which is the biggest original Hindi films but that is also more than good enough as its around 600 crore nett business this year for the film released as a blockbuster film.

The top ten footfalls post pandemic are as follows. The original Hindi films are in bold.

1. Pushpa 2 - The Rule - 4 crore

7. KGF - Chapter 2 - 2.55 crore

8. RRR - 1.70 crore

10. Kalki 2898 AD - 1.50 crore

The future of entertainment lies in the hands of audiences, who will decide how and where they want to consume content. Imagine a scenario where a QR code allows viewers to choose whether to watch a film in a theatre, on the phone, or on TV. This flexibility will define new-age entertainment.

However, content must reach a wider audience, especially in a country with India's massive population. For example, while Stree 2 was a blockbuster, it was watched by only 45 million people. This highlights the huge scope for broader content distribution.

In the coming years, technology-particularly AI and innovative distribution models-will empower filmmakers and create platforms for new content. The key, however, is to craft stories that resonate with a large, diverse audience. We need to focus on creating content that is about India, for India, and of India.

I don't believe there's a "takeover" by southern cinema. Since the pandemic, the Hindi film industry has seen remarkable successes, with films such as Animal, Gadar 2, Pathaan, Jawan, and Stree 2 achieving box office collections of Rs. 500-600 crore in India. This clearly shows that the Hindi film industry is performing as well as its southern counterpart. What truly matters is giving audiences something fresh and unique-exactly what these films have delivered. Instead of viewing southern and Hindi films as separate entities, we should embrace them as part of one Indian film industry. My hope is that films from across the country resonate with audiences nationwide.

Both southern and Hindi industries produce hits, but there are also films from both that fail to connect with audiences. As someone who stays in touch with creators from both industries, I am optimistic that next two years will bring unique stories from across India.

Streaming platforms are not a threat to cinema-they will coexist with theatres. While streaming services are still expanding their reach, they complement rather than compete with the theatrical experience.

Every age writes its own love story, and every generation speaks a new love language. But looking back at 2024 reveals we are stuck in a time warp, at least when it comes to love on screen. “Most people who have written to me since the re-release of Laila Majnu are in the age bracket of 13 to 17 years,” says filmmaker Sajid Ali, whose 2018 romantic drama became a hit upon re-release this year.

“When we made this film seven years ago, we thought we were making it for people in their 30s to 50s who have some understanding of classical literature. But ultimately, teenagers have held this film closer to their hearts.”

Initially, the Avinash Tiwary-Triptii Dimri starrer earned around R3 crore at the box office. Upon its re-release, the collection is estimated to be over Rs. 10 crore. Laila Majnu is not alone in a replay of success. Ranbir Kapoor’s 2011 angsty romance, Rockstar, re-ran in theatres for over a month and amassed more than Rs. 5 crore, doing better business in its fifth week than it did in the fifth week after its original release. Social media feeds are crowded with essays, videos, and pictures of youth loving the return of love. They don’t make them like that anymore, is the overriding sentiment. So then, is love lost in a crowd of actioners, spectacles, sci-fi and horror comedies on screen?

Filmmaker Vivek Soni, who has two romantic films coming up— Ananya Panday-Lakshay starrer Chaand Mera Dil and Aap Jaisa Koi on Netflix with R Madhavan and Fatima Sana Shaikh—says the success of re-releases speaks more about people’s desire to relive experiences, not genres.

“People go for nostalgic value,” he says, “Even I wanted to watch Dil To Pagal Hai and Veer-Zaara. People now want to watch Shah Rukh Khan’s dialogues and scenes again on the big screen. But will they watch a new romantic comedy? The test will be how well a new romantic release does in theatres.”

A studio executive echoes Soni’s sentiment: “Who doesn’t want to see SRK romancing once again? Or Ranbir Kapoor? Either you want to recreate the experience, or you missed it the first time it released and want another go. That’s what happened with Laila Majnu. It grew on OTT, and people wanted to experience it on the big screen.”

Since the COVID-19-induced lockdown, industry hits have either been big-scale actioners or horror comedies. Successful romcoms such as Teri Baaton Mein Aisa Uljha Jiya, Zara Hatke Zara Bachke have been far and few in between. “The audience has shown more interest in event films than relationship dramas,” says Soni.

“Most people prefer watching relationship dramas or mid-scale films at home. So, makers are cautious about the canvas and scale of what they make for theatres. Similarly, stars also do event films for theatres—the whole chain has been affected.”

The demand for romcom is higher on OTT. “Most romances have moved to OTT,” a trade pundit says, “and streaming platforms like them because they are low-stakes stories. Unless you find a big idea and scale within a romance, like Rocky Aur Rani Kii Prem Kahaani or the upcoming Dhadak 2, an inter-caste love story.”

Bihar-based exhibitor Vishek Chauhan believes the audience has no bias towards a genre but invests in films that offer something new. “Right now, only action [films] work because that’s what people are making. Once there’s a good romantic film, people will come to theatres to watch it; they haven’t sworn the genre off. A theatre release must be about everyone and be understood by everyone—from Pune to Purnia. Yesteryear directors like Yash Chopra understood India; they were connected to the roots. They knew how a common man thinks. Take for instance Dilwale Dulhania Le Jayenge (DDLJ)—it united classes—it started in England and ended in Punjab. Today, that understanding is missing.”

Another creative sheds light on challenges in making a romance palatable to the masses. “Earlier, the demographics were still homogeneous,” he says. But today, the fragmentation of audiences across multiplexes and B and C centres is enormous. People’s experience of watching the same thing is varied. There’s no homogeneity. A film like  Animal will work in mass centres, even though the urban class criticizes it. Similarly, Rocky Aur Rani… did good business in urban centres but not in B and C centres. It’s difficult to have a DDLJ moment today.”

For Tanuja Chandra, who last helmed the charming romantic comedy Qarib Qarib Singlle (2017), it’s just a matter of time before love overtakes violence and action. “There is confusion in the industry at present,” she says, “and many producers don’t know which road to take. The perception is that pulling audiences with noise and fireworks [action and violence] is easier. I don’t think that’s true. And violence under a sheen of glamour is something to be wary of in a world sinking into an abyss of the most horrific violence. The perception that softer stories are unlikely to draw people to theatres has been proven wrong repeatedly.” 

There’s also a creative challenge to making a romantic film that screenwriter Ankur Pathak breaks down:  “A filmmaker recently told me, ‘These days, a large part of love takes place virtually… it doesn’t inspire the desire to shoot or create drama.’  A love story needs relentless conflict to sustain itself, and because our love lives are largely dependent on communication through WhatsApp, DMs and tweets, there’s not much room to make it cinematically exciting.” 

Another creative professional shares how a high concept is necessary for a young love story to fly today. “Earlier, you could separate lovers, leaving no means of communication. If lovers are separated today, the whole communication needs to go haywire. Straightforward romance is becoming difficult to crack without a core idea. Or it has to have mature characters who reflect those times—like Qarib Qarib Singlle or The Lunchbox. These aren’t reflective of today’s romance. So you have to either go back in time or have mature characters.”

Soni believes success will come in making romance personal while understanding audiences’ tastes. “Until five years ago,” he says, “a simple story of two people falling in love, lots of songs and a milieu worked. Today, people don’t have the patience to enjoy slow-burn stories or even songs. While travelling by train the other day, I saw a gentleman watching a film on his phone, and he was constantly skipping the establishment shots. This is what we are dealing with.” 

He adds, “My assistants are 10 years younger than me; they also want to experience passionate, intense love. They look at that kind of love with a sense of aspiration. As long as you make it personal, a romance will become aspirational.”

Chandra sums it up by saying love will find its way to the screen if filmmakers don’t play it safe. “A disarmingly honest story is bound to be compelling. We just need to be rid of our fears as storytellers.”

Ranbir Kapoor had a lot of updates on his upcoming projects, and he was eager to share them at the ongoing Red Sea Film Festival in Jeddah (Saudi Arabia).

Speaking about the much-anticipated sequel to Animal (2023), which was confirmed earlier this year, the 42-year-old told Deadline, “The director (Sandeep Reddy Vanga) is making another film right now, [so] we should [be able to] start that film in 2027... He wants to make it into three parts and the second part will be called Animal Park,” and added, “We have been sharing ideas from the first film itself on how he wants to take the story forward. It’s very exciting because I [will] get to play two characters — both the antagonist and the protagonist. So, it’s an extremely exciting project with an extremely original director.”

Kapoor is also set to star in his second Sanjay Leela Bhansali film titled Love And War, which is currently in the pre-production stage. Recounting his debut film with Bhansali, Saawariya (2007), Kapoor revealed how it had the “biggest impact on his career”.

“I have always believed failures changed me more than successful films. My first film, Saawariya, was a big disaster at the box office and it was ridiculed as a film. [But] it prepared me early on about what this industry is like, and what it is like to be an actor. I was humbled with my first film itself; it prepared me for the ride.”

As for Nitesh Tiwari’s Ramayana, where Kapoor will star alongside Sai Pallavi, the actor revealed that the shoot for the first part has been wrapped up. Calling it “India’s greatest story”, the actor said, “I am so humbled to essay Ram’s role. It’s a film that has everything. It teaches what Indian culture is about — family and husband-wife dynamics.”