BY SUNIT JANGIR

Mumbai, July 18 - The winners of the 72nd National Film Awards were announced on Saturday, celebrating the finest Indian films certified by the Central Board of Film Certification (CBFC) during 2024. Article 370 emerged as one of the biggest winners of the ceremony, taking home the prestigious Best Feature Film award, while its lead star Yami Gautam won her maiden National Award for Best Actress. (adsbygoogle = window.adsbygoogle || []).push({}) Among the other major honours, Kartik Aaryan (Chandu Champion) and Mammootty (Bramayugam) shared the Best Actor award, while Sudipto Sen was named Best Director for The Kerala Story. The award for Best Popular Film Providing Wholesome Entertainment went to Kalki 2898 AD, recognising the sci-fi epic's impact both critically and commercially. Several regional films and technical achievements were also recognised across multiple categories, highlighting the diversity of Indian cinema. Notable winners included Srikanth as Best Hindi Feature Film, Lucky Baskhar as Best Telugu Feature Film, Raayan as Best Tamil Feature Film, and Bramayugam, which picked up multiple technical honours in addition to Mammootty's Best Actor win. The awards once again showcased outstanding performances and filmmaking excellence from across the country. (adsbygoogle = window.adsbygoogle || []).push({}) 72nd National Film Awards 2026 - Winners List Category Winner Best Feature FilmArticle 370 Best ActorKartik Aaryan (Chandu Champion), Mammootty (Bramayugam) Best ActressYami Gautam (Article 370) Best DirectorRajkumar Periasamy (Amaran) Best Supporting ActressRopashree Varkady (Mithya), Sachana Namidass (Maharaja) Best Supporting ActorSanjay Mishra (Bhakshak) Best Feature Film Providing Wholesome EntertainmentKalki 2898 AD Best Film Promoting National, Social and Environmental ValuesCaptain Miller Best Debut Film of a DirectorSwatantrya Veer Savarkar Best Children's Film35 Chinna Katha Kaadu Best Child ArtistRiddhiman Banerjee, Tapomoy Deb, Gitashree Chakraborty, Arundev Pothula & Athish S Shetty Best CinematographyShehnad Jalal (Bramayugam) Best Screenplay (Original)Sukumar (Pushpa 2) Best Screenplay (Adapted)Yogesh Deshpande (Swargandharva Sudhir Phadke) Best Dialogue WriterVenky Atluri (Lucky Baskhar) Best Production DesignNitin Zihani Choudhary (Kalki 2898 AD) Best Action DirectionAnl Arasu (Maharaja) Best Make-Up ArtistP Ravi Kumar (Committee Kurrollu) Best Costume DesignDeepali Noor & Sheetal Sharma (Pushpa 2) Best Music DirectionShashwat Sachdev (Article 370) Best Background MusicGV Prakash (Amaran) Best LyricsManoj Muntashir (Maidaan) Best Male Playback SingerAbhay Jodhpurkar – "Gharat Ganpati" (Navasachi Gauri Mazi) Best Female Playback SingerVaikom Vijayalakshmi – "Angu Vaana Konilu" (ARM) Best ChoreographyVijay Ganguly (Stree 2) Best Sound DesignManas Choudhury (Bhool Bhulaiyaa 3) Best EditingR Kalaivannan (Amaran) Best Assamese FilmJuiphool Best Bengali FilmChalchitra Ekhon Best Hindi FilmSrikanth Best Kannada FilmMithya Best Malayalam FilmFeminichi Fathima Best Marathi FilmMukkam Post Bombilwadi Best Odia FilmLahari Best Tamil FilmRaayan Best Garhwali FilmDholi Best Telugu FilmCommittee Kurrollu Best Gujarati FilmMaaran Best Manipuri FilmSunita Best Konkani FilmMog Asum Best Tulu FilmIMBU Special MentionDhanush (Captain Miller) & Suren G (Meiyazhagan)

BY CHRISTA LINCY

The Dhamaal franchise has successfully entered the 100-crore club in India, hitting the milestone on its second Friday. For a comedy series now in its fourth installment, reaching 101.50 crore rupees in net collections by day eight is a testament to its consistent brand pull. Dhamaal 4 has carved out its own trajectory by staying steady through the week. This achievement confirms that there is still a significant appetite for ensemble comedies, provided they can maintain a hold over family audiences during the crucial second-weekend transition. If we look at the specific numbers for Day 8, the film collected 5.50 crore rupees. This represents a very controlled drop of about 8.3 percent compared to the previous day’s 6.00 crore collection. Usually, a second Friday sees a steeper decline, but the film managed to hold its ground across 8,158 shows. These collections are particularly decent when you consider the massive wave created by The Odyssey, which has occupied most of the premium outlets and top-tier screens. In spite of this heavy competition for screen space, Dhamaal 4 has remained steady, pushing its total India net collection to 101.50 crore rupees and its India gross to a healthy 121.03 crore rupees. Logically, the film is benefiting from its family-friendly appeal, which allows it to find significant momentum during evening and night screenings even when facing a major blockbuster. (adsbygoogle = window.adsbygoogle || []).push({}) The international performance is also contributing steadily to the bottom line. On Day 8, the film added 50 lakh rupees from overseas markets, taking the total overseas gross to 18.75 crore rupees. According to data shared by Venky Box Office, the North America market has been a key contributor, with a Thursday gross of 38,000 dollars (approximately 32 lakh rupees), bringing the total in that region to 814,000 dollars (approximately 6.84 crore rupees). When we combine the domestic and international numbers, the worldwide gross for Dhamaal 4 now stands at 139.78 crore rupees. Occupancy trends for the second Friday show an interesting regional divide and a clear build-up in momentum as the day progressed. The overall occupancy for the Hindi 2D version stood at 16.31 percent, starting slow in the morning at 5.92 percent and climbing to 13.31 percent in the afternoon. By the evening, this rose to 17.08 percent, finally peaking during the night screenings at 25.46 percent. When we look at the major territories, the National Capital Region managed an overall occupancy of 15.8 percent across its 750 shows, with night shows hitting 23 percent. Mumbai followed a similar pattern with 649 shows and an overall average of 16 percent, seeing its strongest turnout at night with 26 percent occupancy. (adsbygoogle = window.adsbygoogle || []).push({}) The performance in other key cities also highlights where the film is finding its audience. Bengaluru turned out to be a standout performer with the highest overall occupancy at 18.8 percent across 173 shows, bolstered by a massive 34 percent occupancy during the night. In Pune, the film maintained a solid 15 percent overall occupancy over 287 shows, ending the day with 25 percent for night screenings. Meanwhile, the markets in Gujarat showed slightly lower numbers; Ahmedabad saw 11.5 percent overall across 568 shows, and Surat recorded 6.3 percent for its 305 shows. These detailed figures suggest that while the morning starts are generally quiet, the urban centers and late-night audiences are the primary drivers keeping the film steady against newer releases. In terms of advance bookings at the national chains, the film saw a decent turnout for its second Friday, selling around 14,700 tickets. The total gross from these major outlets was approximately 45.5 lakh rupees. If we break this down using rounded figures, PVR was the primary driver with nearly 6,800 tickets sold, bringing in roughly 23 lakh rupees. INOX followed with about 5,400 tickets and a gross of 15.5 lakh rupees, while Cinepolis contributed another 2,500 tickets with a gross of around 7 lakh rupees. These numbers clearly reflect the audience's current preference for watching comedy films in a multiplex environment. On the popular ticketing platform BookMyShow, the film sold about 100,000 tickets on its second Friday alone, which places it at the tenth spot for second-Friday ticket sales in the 2025-26 period. To date, the platform has recorded a total of over 18.1 lakh ticket bookings for the movie. (adsbygoogle = window.adsbygoogle || []).push({}) The journey to 100 crores in eight days puts Dhamaal 4 in a comfortable position as it enters the crucial second Saturday and Sunday. The goal will now be to capitalize on the weekend surge to push the worldwide gross toward the 175 crore mark. Given the lack of a major new comedy release in the immediate window, the film has a clear path to continue its run without much friction.

BY SUNIT JANGIR

Mumbai, July 18 - Veteran actor Paresh Rawal has triggered a fresh controversy surrounding the 2023 hit OMG 2 after claiming that the film's original concept was his idea and that he was never credited for his contribution. The actor alleged that he had worked on the story with filmmaker Amit Rai years before the project took shape, but the script underwent major changes after Akshay Kumar came on board, eventually leading to his exit from the film. (adsbygoogle = window.adsbygoogle || []).push({}) According to Rawal, the initial version of OMG 2 was significantly different from the one that eventually reached theatres. He claimed that the original story did not feature a divine character and that his name was omitted despite contributing to the film's conception. The actor expressed disappointment that he received no story or concept credit after the project moved forward without him. Producer Ashwin Varde has strongly denied the allegations, calling Rawal's claims "baseless, untrue and unsubstantiated." Varde further alleged that Rawal had once attempted to develop OMG 2 without Akshay Kumar, describing such an effort as "unethical." He maintained that the film was developed independently and insisted that Rawal's version of events does not reflect what actually transpired during the making of the sequel. (adsbygoogle = window.adsbygoogle || []).push({}) Director and writer Amit Rai has also rejected Rawal's assertions, stating that the screenplay and concept of OMG 2 were his own work. Rai denied that the film originated from Rawal's idea, effectively dismissing the actor's claims of creative ownership. With both the producer and director publicly refuting the allegations, the dispute has escalated into one of the biggest behind-the-scenes controversies surrounding OMG 2, reigniting discussions about authorship, story credits and creative recognition in the Hindi film industry.

BY SACNILK

Mumbai, July 18 - Singer-composer Kshitij Tarey, known for memorable tracks such as Aye Khuda, Madno and Javeda Zindagi, says composing the music and background score for the upcoming web series Ab Hoga Hisaab allowed him to explore the emotional depth of its characters. The series, starring Mouni Roy, Sanjay Kapoor and Shaheer Sheikh, features two original songs composed by Kshitij Tarey, including the title track sung by him and the romantic number Saaiyaan Ve sung by Shaan. (adsbygoogle = window.adsbygoogle || []).push({}) Speaking about what made him connect with the story, he said, "When I came on board, the story immediately connected with me. It had so many emotional layers, and capturing the protagonist’s journey through music was both challenging and fulfilling. Along with the background score, creating two completely different songs for the series made the experience even more exciting," Tarey said. The singer said composing for a web series differs from films due to its episodic storytelling and changing viewing habits. "The essence of background music remains the same — it always serves the story and the characters. But with a web series, you compose across multiple episodes and also keep in mind that audiences are largely watching on personal devices, which naturally influences the treatment of the music," he added. (adsbygoogle = window.adsbygoogle || []).push({}) Tarey also spoke about collaborating with veteran singer Shaan, calling him an inspiration both professionally and personally. "He is an exceptional artiste and an even better human being. Every interaction with him is a learning experience, whether it’s his approach to singing or the stories he shares from his journey in the music industry," he said. Reflecting on the enduring popularity of songs like Aye Khuda, Madno and Javeda Zindagi, Tarey said the biggest reward for any artiste is knowing that their music continues to resonate with listeners. "When people tell me that my songs stayed with them during some of the most emotional phases of their lives, it means everything to me. There’s no greater satisfaction than knowing your music has become a part of someone’s personal journey," he said.

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.