The Odyssey India Box Office Day 1 (Live): Nolan's Career-Best Reviews Drive Intense Demand for Limited IMAX Screenings

BY SUNIT JANGIR

Mumbai, July 17 - Warner Bros. and New Line Cinema's Evil Dead Burn has delivered a strong performance at the Indian box office, emerging as the biggest opening week for a horror film released in 2026. The supernatural horror title wrapped up its first seven days with an impressive 25 crore gross, comfortably surpassing the 22 crore-plus opening week of Curry Barker's Obsession. (adsbygoogle = window.adsbygoogle || []).push({}) The film collected 2+ crore gross on its seventh day, taking its first-week total to 25 crore gross. Despite facing competition from multiple Indian releases, Evil Dead Burn maintained steady collections throughout the week, with South India and major metropolitan cities leading its business. The result underlines the growing appetite for horror films among Indian audiences. The latest instalment in Sam Raimi's iconic Evil Dead franchise has also achieved another significant milestone by making India the biggest international opening weekend market for the film. During its opening weekend, the movie grossed approximately 15+ crore, outperforming every overseas territory outside North America and highlighting the franchise's strong fanbase in the country. (adsbygoogle = window.adsbygoogle || []).push({}) With positive word-of-mouth and limited direct competition in the horror genre, Evil Dead Burn now has an opportunity to extend its theatrical run over the coming weeks. Having already overtaken Obsession to register the biggest first week for a horror film in India this year, the film has established itself as one of Hollywood's notable box office successes in the Indian market in 2026. Earlier, Obsession had an excellent run at the Indian box office. Despite starting slowly, the thriller grew exceptionally over the weeks due to extremely positive word of mouth. It became only the second Hollywood horror title to surpass the 100 crore gross mark in India, to emerge as one of the biggest non-Indian titles. It needs to be seen how far Evil Dead Burn can go.

BY CHRISTA LINCY

The arrival of a Christopher Nolan film is often treated more as a global event than a standard movie release, and The Odyssey is certainly living up to that reputation. For months, the buzz surrounding this project has been building, fueled by Nolan’s commitment to large-format practical filmmaking. As the film finally makes its debut today, it is not just the technical scale that is making headlines, but the critical reception as well. With a staggering 98 percent score on Rotten Tomatoes, it has officially become the highest-rated film of Nolan’s career, surpassing iconic masterpieces like The Dark Knight and Memento. To give you some context on how impressive this critical acclaim is, the film currently sits above Oppenheimer and Dunkirk in the director's filmography rankings. This level of praise is undoubtedly a driving force behind the strong turnout we are seeing in India. Technically, Nolan continues to push boundaries, as the film is designed for the rarest of cinematic experiences. It has been confirmed that only 40 cinemas worldwide possess the specific technical capability to screen The Odyssey in its intended 70MM IMAX format, making it a rare artifact for cinema purists. (adsbygoogle = window.adsbygoogle || []).push({}) In India, the anticipation for Christopher Nolan's latest project translated into a final pre-sale tally of approximately 3,39,490 tickets on BookMyShow. This performance places The Odyssey at the fourth spot in the list of highest Hollywood pre-sales in the country, trailing behind Deadpool and Wolverine (505K), Avatar: Fire and Ash (474K), and The Conjuring (443K), while moving ahead of Mission: Impossible - The Final Reckoning (248K). The momentum saw a sharp spike as the release approached, with daily bookings jumping from 36,910 tickets on Tuesday to a massive 1.14 lakh tickets on Thursday alone. This trend has carried into the release day, with real-time data showing over 50,110 tickets sold between 7 am and 1 pm today, including 12,730 tickets booked in the single hour between 12 pm and 1 pm. Looking at the live box office performance, The Odyssey has collected a net of ₹4.04 Cr across India so far on its first Friday. This corresponds to a gross collection of ₹4.77 Cr. The film is currently playing across 4,154 shows nationwide. When we break these numbers down by language, it is clear that the English version is the primary driver, contributing roughly ₹3.26 Cr. The dubbed versions are seeing more modest starts, with Hindi at ₹0.46 Cr, Tamil at ₹0.17 Cr, and Telugu at ₹0.15 Cr. (adsbygoogle = window.adsbygoogle || []).push({}) The occupancy rates for The Odyssey show an exceptional trend across different languages and formats, especially for a morning start. The English version is the primary driver with a 70 percent occupancy across 2,113 shows. In contrast, the Hindi version is running on 1,468 shows with an occupancy of 10 percent. The South Indian markets are showing more immediate interest, with the Tamil version recording 22 percent occupancy over 227 shows and the Telugu version reaching 25 percent across 346 shows. These figures contribute to a total of 4,154 shows nationwide for the opening day. Premium formats are witnessing massive demand, which is typical for a Nolan directorial. The English IMAX 2D screenings are leading the charge with an overall morning occupancy of 73.86 percent. In Bengaluru, this format is performing exceptionally well with 85 percent occupancy for its 29 shows. Other major hubs like NCR and Mumbai are also seeing strong numbers with 70 percent occupancy for 46 shows and 56 percent occupancy for 50 shows respectively. The English 4DX format is also drawing a respectable crowd, maintaining an overall occupancy of 42.29 percent. Regionally, Bengaluru leads this format with 47 percent occupancy for 40 shows, followed by NCR at 23 percent for 35 shows and Mumbai at 17 percent for 21 shows. (adsbygoogle = window.adsbygoogle || []).push({}) The regional distribution for English 2D screenings highlights strong engagement in South India. Chennai is currently leading with 39 percent occupancy across 118 shows, while Hyderabad follows closely at 36 percent across 286 shows. Other key metros like Bengaluru and Pune have recorded occupancies of 17 percent for 439 shows and 16 percent for 180 shows respectively. In the northern and western markets, Mumbai is at 9 percent for 400 shows and NCR is at 8 percent for 481 shows during the morning period. The regional language screenings are also contributing steadily to the day one numbers. In the Telugu market, Vizag has seen 29 percent occupancy across 48 shows, while Hyderabad is at 28 percent for 86 shows and Vijayawada is at 20 percent for 48 shows. The Tamil market shows high interest in Salem with 33 percent occupancy for 28 shows, while Chennai and Coimbatore are at 25 percent for 139 shows and 24 percent for 49 shows respectively. In the Hindi belt, Mumbai is at 7 percent for 161 shows, NCR at 6 percent for 291 shows, and Ahmedabad at 5 percent for 181 shows. These figures suggest that while the English version remains the primary choice for the morning shows, the dubbed versions are finding their footing in specific regional pockets. (adsbygoogle = window.adsbygoogle || []).push({}) In the national chains—PVR, INOX, and Cinepolis—the daily advance for today has been significant. Based on round-off figures, PVR has sold approximately 34,500 tickets, while INOX has moved about 23,200. Cinepolis has contributed roughly 6,000 tickets to the total. This brings the total advance bookings in national chains to about 63,800 tickets for the opening day. These figures highlight that the urban multiplex audience is currently the backbone of the film's Indian run. As the day progresses and evening shows commence, we expect these occupancy numbers to climb even higher. The combination of record-breaking reviews and the promise of a unique technical spectacle has made this a must-watch for many. To see how the general public and critics are responding to this epic journey, we have compiled a series of reactions from viewers who caught the early shows. Here is what audiences and film enthusiasts are saying about Christopher Nolan's latest cinematic journey. #TheOdyssey in #IMAX Review - Magnificent ! Rating : 4/5Christopher Nolan’s magnum opus The Odyssey is an outstanding cinematic experience. A must see in IMAX to get that big screen format feel of a technically brilliant film. The writing, actors along with technical team… pic.twitter.com/nAwJmxfVsh— Sreedhar Pillai (@sri50) July 17, 2026 #TheOdysseyReview ~ Once in a Generation Masterpiece!Rating: ⭐⭐⭐⭐⭐Before writing anything, lemme put this in words: “Even GOD can’t prepare you for the CINEMATIC PEAK that you are going to WITNESS in these three hours.” 🔥Yes, #TheOdyssey is not just a film but an… pic.twitter.com/wuVvrRkigl— CineHub (@Its_CineHub) July 16, 2026 #TheOdyssey Technically Brilliant, A True Cinematic Experience!The first 30 minutes takes time to get going, but once Odysseus’ journey back begins, the film is exhilarating. Some sequences genuinely feel like a horror movie, while others play out like a proper commercial film.…— Venky Reviews (@venkyreviews) July 17, 2026

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

The film industry often sees massive budget spectacles taking over the box office, but every once in a while, a content-driven project like Lenin arrives and completely shifts the narrative. From its first day of release, the film generated a strong positive buzz, primarily driven by its relatable storytelling and impactful performances. Released on a mid-range scale, Lenin has defied expectations by delivering consistent numbers, proving that word-of-mouth still holds significant power in the 2026 cinematic landscape. The total cost of production and promotion was approximately ₹55 crores. The makers played a smart hand by recovering about 50 percent of this budget—roughly ₹30 crores—through non-theatrical rights like digital and satellite deals before the film even hit the screens. This left a theatrical business value of around ₹20 crores, requiring a distributor share of ₹22 crores to achieve break-even. Remarkably, the film crossed this target by its second day, securing its status as a clean hit almost immediately. (adsbygoogle = window.adsbygoogle || []).push({}) Lenin - Week 1 India Net CollectionDAY NUMBERINDIA NET COLLECTIONSHOW COUNTDay 1 (Friday)₹ 7.15 Cr2,028Day 2 (Saturday)₹ 8.65 Cr2,099Day 3 (Sunday)₹ 9.65 Cr2,324Day 4 (Monday)₹ 3.60 Cr2,122Day 5 (Tuesday)₹ 3.00 Cr2,147Day 6 (Wednesday)₹ 2.15 Cr2,166Day 7 (Thursday)₹ 2.00 Cr2,119Total Week 1₹ 36.20 Cr15,005 The weekly trajectory of Lenin shows a textbook trend for a successful film. It started strong with ₹7.15 Cr on Friday and saw healthy growth over the weekend, peaking on Sunday with ₹9.65 Cr. Even more impressive was the Monday hold, which saw a collection of ₹3.60 Cr. By the time it finished its seventh day on Thursday, the film added ₹2.00 Cr, bringing its total India net collection to ₹36.20 Cr. The show count remained incredibly stable throughout the week, starting at 2,028 and finishing with 2,119 shows on Thursday, indicating that theater owners were actually adding screenings to accommodate the demand. (adsbygoogle = window.adsbygoogle || []).push({}) Regional data highlights that the film is a major force in the Telugu-speaking states (APTG), which contributed a massive ₹36.55 Cr to the total India gross of ₹41.52 Cr. Karnataka also provided strong support with nearly ₹4.00 Cr in gross collections. While the performance in Tamil Nadu and other regions was more modest, the overwhelming dominance in its home circuit has been the driving force behind the hit status. Occupancy rates remained high, starting at 50 percent on Friday and soaring to 59 percent on Sunday, before settling into a respectable 22 percent by Thursday. The international performance of Lenin has been equally consistent, helping the film secure its profitable status globally. By Wednesday, the sixth day of its release, the film successfully completed its break-even target in overseas markets, emerging as a clean hit. According to data from Venky Box Office, the North American circuit contributed 26k dollars (approximately ₹22 lakh) on Wednesday, bringing the regional total to 703k dollars (approximately ₹5.9 Cr). With a total overseas gross of ₹9.40 Cr, the film's cumulative worldwide gross reached ₹50.92 Cr at the end of its first week. (adsbygoogle = window.adsbygoogle || []).push({}) Ticket sales data from BookMyShow reinforces the films mass appeal. Over the last 24 hours alone, nearly 33,000 tickets were sold, bringing the total tickets booked on the platform to over 9.3 lakh for the week. Furthermore, the film saw strong engagement at national chains like PVR, INOX, and Cinepolis, where over 51,000 tickets were moved during the seven-day period. These numbers, combined with the fact that the film has achieved break-even in all territories, solidify Lenin as one of the most profitable and well-received films of the year so far.