BY CHRISTA LINCY

With Dhurandhar 2: Raw & Undekha having completed more than a month of streaming on JioHotstar since its early June premiere, the performance data of the first film is being revisited as a key market indicator. Comparing the global reach of the edited version against the domestic success of the uncut release offers significant insights for producers and advertisers about the specific pull of raw content in the Indian market. Currently, RRR (Hindi) maintains its position as the most viewed Indian film on Netflix with approximately 46.25 million views. However, Dhurandhar has secured a strong second place on the all-time list with 38.6 million views, outperforming other major hits like Jawan (35.3M), Animal (33.4M), and Gangubai Kathiawadi (32.84M). These figures, which exclude direct-to-digital releases, reflect the film's standing through June 2026. (adsbygoogle = window.adsbygoogle || []).push({}) A closer look at the Netflix data shows that Dhurandhar remained in the Global Top 10 for ten consecutive weeks. The viewership pattern was steady, starting with 7.6 million views in its first week and peaking at 8.2 million in the second. Interestingly, the film saw a significant resurgence in its eighth week, jumping back up to 2.3 million views. This late-stage push was a direct result of the buzz surrounding the release of the sequel, showing how new theatrical installments can revive interest in older catalogue titles. Here is the week-wise Netflix viewership breakdown for Dhurandhar: 1st Week – 7.6 Million 2nd Week – 8.2 Million 3rd Week – 2.9 Million 4th Week – 2 Million 5th Week – 1.3 Million 6th Week – 1 Million 7th Week – 1 Million 8th Week – 2.3 Million (adsbygoogle = window.adsbygoogle || []).push({}) However, the most intriguing data point comes from the comparison between platforms. While Netflix streamed a cut version of the film for a global audience, JioHotstar carried the Raw & Undekha (uncut) version specifically for the Indian market. The difference in numbers is stark. While Netflix's best global week recorded 8.2 million views that week with 28.1 million hours viewed and 10 weeks in the Top 10, JioHotstar reported that their uncut version garnered more than 32 million views in India within just three days of its release. The marketing strategy played a major role in this domestic surge. Using the campaign line, India Ruka Bhi, JioHotstar Par Dekha Bhi, the platform positioned the film as a national viewing event rather than a standard digital release. The fact that an India-only platform claimed 32 million views in 72 hours—surpassing the global weekly numbers of a giant like Netflix—highlights the massive domestic demand for uncut, mass-market Hindi entertainment.

BY SACNILK TEAM

Mumbai, July 17 - The Punjab and Haryana High Court on Friday declined to entertain a Public Interest Litigation (PIL) seeking the restoration of Diljit Dosanjh-starrer Satluj, which was recently taken down from its OTT platform shortly after its release. The Bench, comprising Acting Chief Justice Ashwani Kumar Mishra and Justice Rohit Kapoor, did not examine the merits of the film's removal and instead questioned the maintainability of the petition. (adsbygoogle = window.adsbygoogle || []).push({}) During the hearing, the Court observed that the petitioner, a Punjab resident, was neither the producer nor the director of the film and therefore lacked the legal standing (locus standi) to seek such relief. Faced with the Court's observations, the petitioner's counsel stated that the plea would be withdrawn and refiled through the film's director. As a result, the High Court declined to entertain the PIL without ruling on whether the takedown of the film was justified. Appearing for the Union Government and the Central Board of Film Certification (CBFC), Senior Advocate Dheeraj Jain argued that the petitioner had no locus to file the PIL and had failed to provide details of the alleged order directing the film's removal. He further submitted that the petition had been filed just days after the movie was taken down without first approaching the concerned authorities or submitting any representation. (adsbygoogle = window.adsbygoogle || []).push({}) The petition had contended that the abrupt removal of Satluj violated the public's fundamental right to receive information and artistic expression under Article 19(1)(a) of the Constitution. It also argued that paying subscribers had been deprived of access to content they had already purchased and claimed that the biographical film, based on the life of human rights activist Jaswant Singh Khalra, did not threaten the country's sovereignty or public order. Originally developed under the title Punjab '95, Satluj has remained at the centre of controversy for years over certification issues and its depiction of sensitive historical events. While the latest PIL has been withdrawn, the legal battle surrounding the film appears far from over, with the possibility of a fresh petition being filed through the film's director in the coming days.

BY CHRISTA LINCY

The collaboration between SS Rajamouli and Mahesh Babu, now officially titled Varanasi, has set a firm release date for April 7, 2027. Following the global reach of RRR, this project is being designed as an international action-adventure, with the script written by Vijayendra Prasad and music by M.M. Keeravani. The film is expected to be a high-budget production, aiming for a wide theatrical release across multiple global markets. Mahesh Babu has spent a significant amount of time preparing for this role, adopting a new look and undergoing a physical transformation to fit the globe-trotting theme of the story. Given Rajamouli's preference for high-end technical standards, the film is being shot with Premium Large Formats (PLF) in mind. The goal is to deliver a visual experience that scales well on international screens, similar to major Hollywood franchises. (adsbygoogle = window.adsbygoogle || []).push({}) However, an interesting challenge has surfaced regarding the film's global release strategy. While the April 7 date is confirmed, it places Varanasi in a very competitive window between two major Hollywood productions. Godzilla x Kong: Supernova is scheduled for March 26, 2027, and the thriller Panic Carefully is set to arrive shortly after on April 9. Both of these films are expected to occupy a large portion of IMAX and premium screens in overseas markets. This creates a potential bottleneck for Varanasi. In the international market, Hollywood studios often secure IMAX and PLF screens well in advance, which could limit the number of premium screens available for an Indian production during that specific two-week window. For Rajamouli, who prioritizes the best possible theatrical presentation, securing these screens is a vital part of the film's global rollout plan. (adsbygoogle = window.adsbygoogle || []).push({}) As of now, the production team has not indicated any plans for a postponement, and the original release date remains unchanged. However, industry observers suggest that the release plan could be revisited if the screen crunch becomes a significant obstacle. For now, the focus remains on completing the project, while trade circles keep a close eye on how the film will navigate this scheduling conflict in the premium screen space.

BY SUNIT JANGIR

Mumbai, July 17 - Bollywood superstar Akshay Kumar's Welcome To The Jungle is now expected to finish its theatrical run below the 200 crore worldwide gross mark, despite looking like a certain entrant into the club just a week ago. The comedy entertainer enjoyed a good opening, maintained healthy collections through its initial days, and appeared comfortably on course to cross the milestone before the box office landscape changed dramatically. (adsbygoogle = window.adsbygoogle || []).push({}) Just a week ago, Welcome 3 looked like a sure-shot 200 crore worldwide grosser. However, the arrival of Dhamaal 4, another major comedy franchise targeting the same audience, has significantly dented its momentum. With exhibitors allocating more shows to the new release and audiences shifting towards the fresher offering, Welcome To The Jungle witnessed a sharp decline in its third-week collections, making the 200 crore mark increasingly difficult to achieve. The timing of Dhamaal 4's release has proved crucial. Since both films belong to the comedy genre, there has been a direct overlap in their target audience. While Welcome To The Jungle had already enjoyed a successful theatrical run, the increased competition curtailed its long legs at the box office. The film is now expected to wrap up its run just short of the double-century milestone worldwide unless it stages an unexpected late surge. (adsbygoogle = window.adsbygoogle || []).push({}) In three weeks, the Ahmed Khan-directed flick has minted around 190 crores gross worldwide, including over 156 crores gross domestically. The turnaround now looks unlikely with Christopher Nolan's highly-anticipated The Odyssey releasing today (July 17), which will be the number 1 movie this week at the Indian box office. Despite missing the 200 crore worldwide mark, Welcome To The Jungle will still be counted among the successful Hindi releases of the year. The film delivered respectable numbers, further strengthened Akshay Kumar's resurgence at the box office, and once again highlighted the commercial appeal of well-made comedy entertainers. However, considering where the film stood only a week ago, falling short of 200 crore worldwide will undoubtedly be viewed as a missed opportunity.

BY CHRISTA LINCY

Akshay Kumar's Welcome To The Jungle, serving as the third installment of the beloved comedy franchise, has now concluded its third week at the box office. With a reported production budget of 120 crore, the film has successfully navigated past that figure to emerge as a hit, currently standing with a net collection of 131.85 Cr. While the project achieved profitability, there is a distinct feeling that it could have reached a much higher peak had it not been for the aggressive competitive waves that have effectively inhabited its throne. The arrival of fresh releases has squeezed its screen presence, leaving the film to navigate a significantly tighter market as it heads toward its final lifetime numbers. As of the end of its third week, Welcome To The Jungle has achieved a cumulative worldwide gross collection of ₹190.00 Cr. This includes a domestic gross of ₹156.65 Cr and an overseas contribution of ₹33.35 Cr. In terms of India net collections, the film currently stands at ₹131.85 Cr. While the numbers are respectable, the drop from the previous weeks is quite evident as the screening landscape shifted significantly over the last seven days. (adsbygoogle = window.adsbygoogle || []).push({}) Welcome To The Jungle - Week 3 India Net CollectionDAY NUMBERINDIA NET COLLECTIONSHOW COUNTDay 15 (3rd Friday)₹ 1.00 Cr3,769Day 16 (3rd Saturday)₹ 1.60 Cr2,315Day 17 (3rd Sunday)₹ 1.90 Cr2,273Day 18 (3rd Monday)₹ 0.55 Cr1,917Day 19 (3rd Tuesday)₹ 0.75 Cr1,951Day 20 (3rd Wednesday)₹ 0.50 Cr1,908Day 21 (3rd Thursday)₹ 0.50 Cr1,902Total Week 3₹ 6.80 Cr16,035 As we look at the cumulative performance, the film has reached an India net collection of ₹131.85 Cr. However, the momentum has shifted noticeably with each passing week. After a strong ₹93.15 Cr start in its opening week, the second week saw a standard dip to ₹31.90 Cr. The most drastic change occurred in this third week, where earnings fell to ₹6.80 Cr—a sharp drop of nearly 78 percent from the previous week. This decline is largely attributed to the arrival of new major releases like Dhamaal 4 and Alpha, which took away a substantial portion of the screens and show counts. By the end of the third week, the film was operating on 1,902 shows on Thursday, a steep decline from its peak show counts in the first fortnight. Occupancy remained on the lower side, averaging around 9 to 10 percent during the weekdays. (adsbygoogle = window.adsbygoogle || []).push({}) Daily performance during the third week showed some resilience over the weekend, with Saturday and Sunday bringing in ₹1.60 Cr and ₹1.90 Cr respectively. However, the weekdays saw the numbers settling into the 50 to 75 lakh range. On its 21st day, the film collected ₹0.50 Cr net, showing a flat trend from the previous day. This stability at lower levels suggests that the film has reached its saturation point in most urban centers. Ticket sales data from BookMyShow further illustrates this journey. For the third week alone, the platform recorded roughly 1 lakh tickets sold, with the weekend accounting for more than half of that volume. Cumulatively, the film has sold over 2.32 million tickets on the platform since its release. In the broader context of 2026 releases, Welcome To The Jungle currently holds the 4th position in terms of ticket sales, trailing only behind major hits like Dhurandhar 2, Border 2, and Bhooth Bangla. While it narrowly missed the overall top 10 list for the 2025-26 period, its performance remains notable for a comedy sequel. (adsbygoogle = window.adsbygoogle || []).push({}) Multiplex engagement also saw a dip, with national chains like PVR, INOX, and Cinepolis selling approximately 24,000 tickets throughout the third week. On the international front, the film added around ₹1.65 Cr during the third week, taking its total overseas gross to ₹33.35 Cr. The slow pace in the international market mirrors the domestic trend, as the diaspora audience also shifts focus toward newer releases. Looking ahead, the path for Welcome To The Jungle is expected to narrow even further. With Christopher Nolans The Odyssey arriving in theaters today, all premium formats and a vast majority of general screens will be occupied by the global tentpole. This will likely limit the films fourth-week prospects significantly. Based on current trends, the film is expected to finish its lifetime run with an India net collection in the range of ₹135 Cr to ₹138 Cr. While it has managed to cross the 130 Cr mark, the intense competition in the 2026 calendar has curtailed its ability to reach the 150 Cr milestone.

BY CHRISTA LINCY

The Dhamaal franchise has always relied on its core strength of slapstick humor and a massive ensemble cast that appeals to family audiences. With Dhamaal 4, the expectations were high for it to replicate the success of its predecessors. Released during a busy 2026 cinematic calendar, the film has managed to carve out its own space by maintaining a steady flow of audience interest throughout its opening week. Looking at the cumulative data for the first seven days, Dhamaal 4 has closed its first week with a worldwide gross collection of ₹132.74 Cr. This total is comprised of an India gross of ₹114.49 Cr and an overseas contribution of ₹18.25 Cr. On a net basis, the film has reached ₹96.00 Cr in India, placing it on the verge of a significant milestone. If the trend continues, it is poised to become the fifth movie of 2026 to enter the 100 Crore club, following in the footsteps of Dhurandhar 2, Border 2, Bhooth Bangla, and Welcome to the Jungle. (adsbygoogle = window.adsbygoogle || []).push({}) In terms of franchise performance, Dhamaal 4 has officially set a new benchmark for the series. By finishing its first week at 96.00 Cr, it has successfully surpassed the 94.55 Cr opening week record previously held by Total Dhamaal. This makes it the strongest-performing first week in the history of the franchise so far. However, the momentum will face a significant test starting today, Friday, 17 July. With the massive arrival of Christopher Nolans The Odyssey, Dhamaal 4 is retaining roughly 45 percent of its screens and has lost all its premium IMAX and large-format allocations. The final push toward the 100 Cr mark will now depend on how well the film holds in its remaining general screens against this high-profile Hollywood competition. Dhamaal 4 - Week 1 India Net CollectionDAY NUMBERINDIA NET COLLECTIONSHOW COUNTDay 1 (Friday)₹ 14.00 Cr10,669Day 2 (Saturday)₹ 22.50 Cr10,954Day 3 (Sunday)₹ 28.50 Cr11,481Day 4 (Monday)₹ 8.75 Cr10,598Day 5 (Tuesday)₹ 9.50 Cr11,077Day 6 (Wednesday)₹ 6.75 Cr11,137Day 7 (Thursday)₹ 6.00 Cr11,006Total Week 1₹ 96.00 Cr76,922 (adsbygoogle = window.adsbygoogle || []).push({}) Analyzing the daily trends, we see that the film peaked during the first weekend, with Sunday bringing in ₹28.50 Cr. Like most comedies, the weekdays saw a standard drop, but the film remained fairly resilient. On its seventh day, Dhamaal 4 collected ₹6.00 Cr net, which is an 11.1 percent drop compared to the previous day. This drop is considered within the normal range for a film heading into its second week. The total show count for the week was a massive 76,922, showing that exhibitors have given the film ample breathing room. The occupancy rates on the seventh day provide a clear picture of how the film is currently being consumed, showing a distinct preference for later screenings. While the overall occupancy for the day was 12.95 percent, the trajectory throughout the day was steadily upward. Morning shows started at a modest 6.38 percent, but momentum built through the afternoon at 13.08 percent and evening at 14.69 percent, eventually peaking at 16.15 percent for night shows. (adsbygoogle = window.adsbygoogle || []).push({}) On a regional level, the performance was varied across major circuits. Ahmedabad emerged as the top performer with a robust 18.5 percent occupancy across its 643 shows. In the high-volume markets, the National Capital Region and Mumbai remained incredibly steady, recording 12.8 percent and 12.5 percent respectively despite having the highest number of screenings. Other key cities also showed consistent interest, with Bengaluru at 11.5 percent and Pune at 11.3 percent. Meanwhile, Surat saw a softer response with an occupancy of 6.3 percent for the day. These numbers across diverse regions indicate that while the initial frenzy has leveled off, the film maintains a respectable baseline as it completes its first full week in theaters. On BookMyShow alone, Dhamaal 4 has moved approximately 1.7 million tickets throughout its opening week. The momentum peaked over the first three days with nearly 2.7 lakh tickets sold on Friday, followed by a massive surge on Saturday with roughly 4.5 lakh and Sunday with around 4.3 lakh tickets. Even as the week transitioned into the working days, the film maintained a steady rhythm, selling about 1.2 lakh tickets on Monday and around 1.3 lakh on Tuesday. (adsbygoogle = window.adsbygoogle || []).push({}) As we look at the tail end of the first week, the digital demand settled into a consistent pattern. On Wednesday, bookings were around 1 lakh, and on Thursday, which was the seventh day of the week, nearly 95,000 tickets were booked through the platform. The performance in national chains like PVR, INOX, and Cinepolis - the numbers tell a more specific story of multiplex engagement. For the entire week, these chains accounted for approximately 2.7 lakh tickets. On the seventh day specifically, the daily advance bookings in these chains reached around 1,600 tickets across roughly 420 shows in 45 venues. PVR emerged as the primary contributor for this specific period, selling nearly 1,570 of those tickets with no notable contributions form other chains. (adsbygoogle = window.adsbygoogle || []).push({}) On the international front, the film has found a respectable audience, especially in the Western markets. In North America, according to data shared by Venky Box Office, the film earned 63k dollars (approximately ₹53 lakh) on Wednesday, which brought its total in that specific region to 777k dollars (approximately ₹6.5 Cr). Looking at the broader global picture as the first week comes to a close, early estimates for the seventh-day overseas collections stand at ₹1.00 Cr. This pushes the total cumulative overseas gross to ₹18.25 Cr so far. As the film transitions into its second week, all eyes are on that final 4 Cr gap needed to reach the 100 Cr net milestone. While the first-week momentum was strong, the path ahead has become significantly narrower starting today. With Christopher Nolans The Odyssey taking over the lions share of premium space, Dhamaal 4 is now operating on roughly 45 percent of its original screen count and has relinquished all its IMAX and large-format allocations. The films success in the coming days will depend entirely on its ability to maintain high occupancy in general screenings.

BY SUNIT JANGIR

Mumbai, July 17 - Superstar Aamir Khan has addressed one of the most persistent beliefs surrounding 3 Idiots, clarifying that his iconic character Rancho, also known as Phunsukh Wangdu, was not inspired by education reformer and climate activist Sonam Wangchuk. The actor made the statement while expressing concern over Wangchuk's ongoing hunger strike and health. (adsbygoogle = window.adsbygoogle || []).push({}) Speaking to the media, Aamir said he hoped Wangchuk would end his fast soon and that he was worried about his well-being. However, he also emphasised that the 2009 blockbuster was not based on Wangchuk's life, putting to rest the long-standing assumption that the character of Phunsukh Wangdu was modelled on the Ladakh-based innovator. The association between 3 Idiots and Sonam Wangchuk has existed since the film's release. Many viewers believed that Wangchuk served as the real-life inspiration for Rancho because of his work in alternative education and sustainable development. The similarity between Wangchuk's educational initiatives and the film's philosophy further strengthened that perception over the years. (adsbygoogle = window.adsbygoogle || []).push({}) Today at @BFI I asked Mr Amir Khan about @Wangchuk66 and his fast. Here is his response: @abhijeet_dipke @CJP_2029 @Cockroachisback @SauravDassss pic.twitter.com/jkeKFssrDX— nabanita sircar (@sircarnabanita) July 16, 2026 Interestingly, Wangchuk himself has previously stated that the filmmakers never consulted him and does not consider himself to be the real-life Phunsukh Wangdu, despite the widespread public belief. His comments had earlier sparked debate about how closely (or not) the film's fictional narrative was connected to his life and work. The discussion resurfaced recently after actor Omi Vaidya, who played Chatur Ramalingam in 3 Idiots, appealed for support for Sonam Wangchuk during his hunger strike and referred to him as the "real-life Phunsukh Wangdu." Aamir Khan's latest clarification has once again brought the issue into the spotlight while separating the film's beloved fictional character from the real-life activist. (adsbygoogle = window.adsbygoogle || []).push({}) Directed by Rajkumar Hirani, 3 Idiots remains one of the most influential films in Indian cinema. Starring Aamir Khan, R. Madhavan, Sharman Joshi, Kareena Kapoor, and Boman Irani, the film remains celebrated for its commentary on India's education system, even as the debate over Rancho's real-life inspiration rages. A sequel to the blockbuster is in the making with the original cast set to return.

BY CHRISTA LINCY

The cinematic adaptation of the timeless epic, Ramayana, directed by Nitesh Tiwari, has remained one of the most discussed projects in Indian cinema. With a massive budget and a stellar cast that brings together the best of various industries, the film is being crafted as a global spectacle. In a significant development, it has come to light that a 34-minute footage of the film has been officially certified by the Australian Classification Board. This news has sparked a lot of conversation among fans who are eagerly waiting for the first glimpse of Ranbir Kapoor as Lord Ram and Sai Pallavi as Sita. According to the official certification details, the 34-minute footage has been granted an M (Moderate) rating. The primary reason cited by the Australian board for this classification is moderate violence. The application for this certification was submitted by Prathyangira Cinemas PTY LTD, indicating that the makers are already laying the groundwork for a massive international rollout. A 34-minute duration is quite substantial for a censor filing at this stage, leading to speculation that this could be a special extended preview, a prologue, or a detailed glimpse intended for international distributors and trade showcases. (adsbygoogle = window.adsbygoogle || []).push({}) To understand the implications of this rating, we must look at how the Australian classification system works. The M classification stands for Mature, signifying content with a moderate impact (such as moderate violence), and functions as an advisory guidance category rather than a legally restrictive one.Unlike the MA 15+ rating, which legally restricts entry to those under 15 unless accompanied by a parent or adult guardian, the M rating is advisory. It suggests that the content is best suited for persons aged 15 and over, but it does not legally prevent children of any age from viewing the film. Essentially, anyone can see an M-rated film, but the board advises parents that the themes or sequences might not be suitable for younger children. The mention of moderate violence is particularly interesting given the nature of the source material. While the Ramayana is a spiritual and emotional journey, it also culminates in a grand scale conflict between the forces of good and evil. The M rating suggests that Nitesh Tiwari is not shying away from a realistic portrayal of the epic's battlefield sequences. By opting for a tone that includes moderate violence, the film appears to be targeting a more grounded and intense cinematic experience rather than a purely sanitized version often seen in older television adaptations. (adsbygoogle = window.adsbygoogle || []).push({}) The buzz surrounding the film is amplified by its extraordinary ensemble. Apart from Ranbir Kapoor and Sai Pallavi, the film features Yash as the formidable Ravana, Sunny Deol as Hanuman, and Lara Dutta as Kaikeyi. The technical side is equally strong, with Namit Malhotra's Prime Focus and the Oscar-winning VFX house DNEG handling the visual effects. The goal is to create a visual masterpiece that matches the standards of global fantasy epics, and this early certification in Australia is a clear sign that the production is moving at a steady pace toward its massive theatrical release. As the project nears its next phases, this M-rated footage provides the first concrete hint regarding the film's artistic direction. It suggests a mature, high-stakes narrative that balances the divinity of the story with the gritty reality of an ancient war. For the global audience, this certification confirms that Ramayana is being prepared as a top-tier international production, ready to compete on the world stage with its scale, storytelling, and now, a certified mature tone.

BY CHRISTA LINCY

The wait for Ananya Panday and Lakshya's intense romantic drama, Chand Mera Dil, to arrive on digital platforms is finally coming to an end. After making its theatrical debut on May 22, 2026, the film is transitioning to the streaming space where it is expected to find a new audience. Despite the high-profile casting and a modern take on romance, the film had a challenging run at the box office, and its upcoming digital premiere is being viewed as its second life on the small screen. Where and when to stream Chand Mera Dil on OTT? Makers have stuck to a standard eight-week exclusive theatrical window before bringing the film to digital viewers. Chand Mera Dil is officially scheduled to stream on JioHotstar starting July 17, 2026. This digital premiere comes exactly 56 days after its theatrical release. Interestingly, the partnership with JioHotstar was teased right from the opening credits during its cinema run, making it an anticipated arrival for subscribers of the platform. One notable aspect of the OTT version is the age rating and censorship. While the theatrical version had its own set of guidelines, the streaming version carries a U/A 16+ rating. To secure this, the Central Board of Film Certification ordered significant changes, including the complete removal of a prominent 1-minute and 36-second lip-lock scene and the trimming of another 10-second kissing sequence. This edited version is what will be available for viewers on the platform from July 17. What is the story of Chand Mera Dil? The narrative of the film explores the darker, more turbulent side of modern relationships. The plot follows Ronit, played by Lakshya, and Tara, played by Ananya Panday, who experience a whirlwind romance after their paths cross. What starts as a passionate and deep connection soon takes a turn as Ronit’s love begins to transform into an extreme and suffocating obsession. The story focuses on the thin line between passion and toxicity, delving into the emotional fallout of a relationship that becomes increasingly volatile. Financially, the film struggled to find its footing during its stay in theaters. Produced on an estimated budget of 40 crore, the movie ended its theatrical run as a flop venture. While it managed to garner some attention in urban centers, it could not generate the mass momentum required to recover its costs. By the end of its run, the film secured a worldwide gross of 38.11 crore, failing to cross its production budget in terms of raw earnings. (adsbygoogle = window.adsbygoogle || []).push({}) Chand Mera Dil: Lifetime Total Box Office Collection CATEGORY COLLECTION (INR) India Net Collection ₹ 29.09 Cr India Gross Collection ₹ 34.26 Cr Overseas Collection ₹ 3.85 Cr Worldwide Total ₹ 38.11 Cr Chand Mera Dil: Frequently Asked Questions (FAQs) Is Chand Mera Dil a hit or a flop? Chand Mera Dil is a Box Office Flop. Against a budget of 40 crore, the film grossed 38.11 crore worldwide, which was insufficient to cover its production and distribution costs. Where to stream Chand Mera Dil on OTT? The film will be available for streaming exclusively on JioHotstar starting July 17, 2026. What is the age rating for the OTT version of Chand Mera Dil? The digital version of the film has been given a U/A 16+ rating after certain romantic sequences were trimmed or removed by the censor board. Who are the lead actors in Chand Mera Dil? The film features Ananya Panday and Lakshya in the lead roles, portraying a couple caught in a turbulent romance.

BY CHRISTA LINCY

The anticipation for Awarapan 2 has been building steadily, with fans eager to see the return of one of the most iconic characters in Hindi cinema. The original Awarapan, released in 2007, was directed by Mohit Suri and featured a stellar ensemble including Emraan Hashmi, Shriya Saran, Ashutosh Rana, and Ashish Vidyarthi. While the film did not set the box office on fire during its initial run, it eventually transformed into a massive cult classic. Its legacy was cemented through years of television broadcasts and the timeless appeal of its musical score, which remains a favorite for many to this day. According to a report by Bollywood Hungama, the makers are now looking to capitalize on this long-standing craze by re-releasing the first part of Awarapan in cinemas on July 31. This strategic move aims to refresh the audience's memory and build a massive momentum exactly two weeks before the sequel hits the theaters. Sources suggest that the films strong recall value, driven by its emotional depth and massy moments, makes it a perfect candidate for a theatrical revival for a generation that might have missed it on the big screen nearly two decades ago. (adsbygoogle = window.adsbygoogle || []).push({}) This re-release sets up an interesting battle at the box office, as it is scheduled to clash with the major Hollywood blockbuster, Spider-Man: Brand New Day, which arrives in India on July 30. While the superhero flick is expected to take a gargantuan start, industry insiders believe that Awarapan still holds enough emotional weight to attract significant footfalls. The nostalgia factor is a powerful tool in the current market, and the trade expects the film to find its own dedicated audience despite the heavy international competition. We have seen a growing trend where films that underperformed during their original runs, such as Tumbbad, Sanam Teri Kasam, and Laila Majnu, emerged as huge hits upon their re-release. Many fans feel a sense of regret for not supporting these films in theaters originally, and that sentiment is expected to play a major role here. Awarapan fits this mold perfectly, having grown in stature over the years through home video and digital platforms, and the July 31 release is seen as a way to correct its previous box office record. (adsbygoogle = window.adsbygoogle || []).push({}) Transitioning to the sequel, Awarapan 2 is being handled by director Nitin Kakkar, known for his work on Filmistaan. The new installment features Emraan Hashmi returning to his iconic role as Shivam Pandit, joined by Disha Patani and Shabana Azmi. The story reportedly picks up from where the 2007 film left off, suggesting that Shivam survived the intense events of the original climax. This return to a brooding, tragic hitman persona is being viewed as the ideal comeback vehicle for Hashmi, tapping into the soulful romantic-action genre that defined a specific era of his career. With the sequel set to release on August 14, the industry is hopeful that Awarapan 2 will deliver a major hit for Emraan Hashmi. The romantic musical genre is currently seeing a resurgence, and given that the sequel aims to replicate the emotional core of the first part, the trade expects a solid opening. By bringing the original film back to theaters first, the makers are ensuring that the hype for Shivam Pandits new mission reaches a fever pitch by the time the second part officially arrives.

BY SUNIT JANGIR

Mumbai, July 16 - The Bhool Bhulaiyaa franchise is gearing up for another spooky adventure. After the commercial success of the previous instalments, work has reportedly begun on Bhool Bhulaiyaa 4, with reports suggesting that the film is currently in development. Kartik Aaryan is expected to reprise his popular role as Rooh Baba, continuing the character's journey in the horror-comedy universe. (adsbygoogle = window.adsbygoogle || []).push({}) According to the latest report by Pinkvilla, the script for Bhool Bhulaiyaa 4 is presently being written, with the makers taking their time to craft a fresh story for the next chapter. Production is reportedly being planned for 2027, although the project is still in its early stages. The remaining cast and crew, including the film's director, are yet to be officially finalised. Director Anees Bazmee had previously confirmed that the fourth instalment was in the works and stated that Kartik Aaryan's return was the only casting decision locked at the time. There is no clarity if Bazmee will return to direct the upcoming comedy entertainer, as the conversations are progressing internally on who will helm the project. (adsbygoogle = window.adsbygoogle || []).push({}) The Bhool Bhulaiyaa franchise has evolved into one of Bollywood's most successful horror-comedy series. Following the success of the original film starring Akshay Kumar, the franchise found renewed momentum with Kartik Aaryan leading Bhool Bhulaiyaa 2 and Bhool Bhulaiyaa 3. With a fourth instalment now in development, fans can expect another blend of supernatural thrills, comedy, and mystery as Rooh Baba prepares to return to the big screen.

BY SACNILK TEAM

Virgin Music Group ("VMG"), the world's leading partner to independent artists, labels and entrepreneurs, today announces a global distribution partnership with acclaimed artist Rajesh Ahir. The agreement spans Rajesh Ahir's future work as well as his complete existing catalogue. This partnership marks a significant milestone in Rajesh Ahir's musical journey and underscores his commitment to delivering exceptional music across generations and geographies. Rajesh Ahir shared his excitement about the partnership, saying: "Music has always been my way of connecting with people and sharing stories that come from the heart. Working with Virgin Music Group is the start of an exciting new chapter in my journey. Their global infrastructure makes them the ideal partner to help take my music to audiences far and wide, and I look forward to creating songs that continue to inspire, entertain, and leave a lasting impact." Rajesh Ahir is a renowned Gujarati folk singer, musician, and performing artist from Dhaneti village in Kutch, Gujarat. Rajesh is recognised for his contributions to Gujarati folk and devotional music and has gained popularity through songs such as "Maan Na Mohanji," "Dwarika Ni Sheriye," "Kana Ne Makhan Bhave," "Aavje Mogal," and "Mava Tari Murti." Known for his ability to blend his traditional Kutch and Gujarati folk heritage with a contemporary music influence, Rajesh strives to keep the region's rich cultural legacy alive while connecting with a younger generation of listeners. Amol Suryavanshi, Label Manager at Virgin Music Group, said: "Rajesh Ahir is a remarkable artist whose authenticity, creativity, and connection with his audience make him truly special. We’re excited to work closely with Rajesh and help him take Gujarati music to listeners across India and around the world."