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A day is left for the release of the much-awaited film, Dhurandhar, starring Ranveer Singh. Bollywood Hungama spoke to trade experts to find out about its opening day numbers and advance trends.
Trade veteran Taran Adarsh said, “The advances have just started. I hope the momentum picks up, as it’s an expensive film, reportedly. The numbers have to match the scale of the film. Hence, the advance booking as well as day 1 is very important for a front-loaded action film like Dhurandhar. It has to take a solid start on the first day itself to set the ground.”
Trade analyst Atul Mohan agreed and also said, “The advance booking isn’t much. It’s too early. The trend is not there of booking tickets days before release. A lot of films now get a walk-in audience and that’s what matters. Therefore, I feel we should not even be talking about advance. It’s an outdated concept now.”
Girish Johar, producer and eminent film business analyst, opined, “The advance is okay. It’s nothing extraordinary. However, I am confident that the audience will book tickets on the spot and watch the film.”
He added, “The expectations are mammoth. It’s a full-blown action film. The trailer has been fantastically received. However, a certain section of the audience, namely the womenfolk, might feel alienated. However, I do feel that Ranveer Singh’s fans will definitely throng the audience.”
Day 1 predictions
In 2025, Chhaava was the highest opener, collecting Rs. 33.10 crores. Will Dhurandhar be able to go past this number? Taran Adarsh replied, “It’s too early to comment. Dhurandhar ideally should collect Rs. 30 crores plus. But right now, the trends indicate an opening of Rs. 20 crores plus. This gap exists as the advance booking has not caught on in a very big way. It needs to jump.”
Distributor and exhibitor Raj Bansal also said, “I doubt (it’ll go past the number of Chhaava). I feel it’ll open in the range of Rs. 20-22 crores.” But he remarked, “The way the films are opening today, an opening of Rs. 20-22 crores is actually very good.”
Atul Mohan predicted, “The film should take an opening of Rs. 20 crores, considering the scale. Aditya Dhar and his brother Lokesh Dhar have mastered making films on Kashmir and India at large. They did that in Uri: The Surgical Strike (2019) and Article 370 (2024). As a result, the audience will expect a lot from Dhurandhar as well.”
Girish Johar also had doubts about the film crossing Chhaava’s first day number, “It all depends on the target audience we are looking at. Chhaava had a much wider target audience. Dhurandhar seems to be targeted at a male audience. They are promoting the song to attract a wider section of moviegoers. But by and large, the audience has made up its mind on whether or not to go. However, if the word of mouth is excellent, anything can happen by evening. But the start trend will be lower.”
Biggest opener for Ranveer Singh?
The question then arises if it’ll be the highest opener of Ranveer Singh? Padmaavat (2018) holds the record at present, having opened at Rs. 24 crores. Taran Adarsh exulted, “Let’s not forget that Padmaavat released in January 2018. So, even after more than 7 years, if you are comparing it with Padmaavat, then it’s not right. It has to challenge films of recent times.”
Meanwhile, Girish Johar stated, “It’ll go past the opening of Padmaavat, Simmba (2018; opened at Rs. 20.72 crores) and Gully Boy (2019; opened at Rs. 19.40 crores) and is poised to be the biggest opener. As of now, Rs. 20 crores plus seems achievable.”
Also Read: 6 reasons you must watch Dhurandhar in theatres
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The premiere of Christmas Karma was held at a multiplex in Mumbai on December 2. Organized by PVR INOX Pictures, it was graced by Nayana Bijli, Lead: Distribution and Licensing, PVR INOX Limited and executive producers Anushka Shah, Sunil Sheth, while the chief guest was Amruta Fadnavis. After the film’s screening, director Gurinder Chadha had a lovely conversation with none other than Karan Johar about the film and a lot more. Gurinder didn’t mince words when she said that she got a raw deal from a section of the media in her home country, the United Kingdom.
Gurinder said, “Sadly, some of the people in England have not engaged with the content of the film. They just said, ‘You can’t do a Christmas film’. I replied, ‘Yes, I can. Watch me’! I mean, Bhagat Singh and Udham Singh and all of them were saying the same thing that we wanted to live our life our way. I am trying to carry that tradition through film and entertainment.”
Karan Johar asked, “Are they questioning your audacity?”. Gurinder replied, “They are actually questioning my right to adapt Dickens and make a film about Christmas. Interestingly, when I adapted Jane Austen’s Pride And Prejudice and made Bride & Prejudice (2004), no one said anything. That wasn’t an issue at all. So, I think it’s a marker of how (the United Kingdom) has changed.”
She then narrated an incident, “My children see race differently compared to me. When my son was 8, he was in the school playground. His classrooms had English boys and just 2 Indian boys, including him. One of the English boys turned to the other Indian boy and said, ‘Your skin is the same colour as poo’. Everyone froze, including my son.”
She continued, “Then one English boy told him, ‘You can’t say that. That’s wrong’. The bully replied, ‘Yes, I can, because it’s true’. My son didn’t know what to do. He didn’t understand racism, as such. Out of nowhere, all the English boys surrounded that bully and said, ‘Take it back. That’s racist. You are not allowed to say that’. Now, this was very different from my experience. My son came home, told me what happened and asked me, ‘Was it racist, mom?’. I said, ‘When he said it, did you feel that he was trying to be mean? Did that upset you?’. He replied, ‘Yes’. I concluded, ‘Then, it was racist’.”
Gurinder remarked, “It’s a constant reminder that we are always having to negotiate and fight the status quo. But at the same time, we have made huge achievements, which we also need to celebrate. In this case, I made this film not just for my children but for all the English boys.”
Gurinder Chadha then revealed, “The Asian community in Britain has been overwhelmed and the message that I get is that they are so proud of the product. They feel that it’s a part of themselves that they get to relive again, and also deal with it for the first time. Hence, it has touched a raw nerve in the Asian community. So, now, what’s happening is that a lot of people are questioning the initial reviews that tried to dismiss the film.”
She added, “I am doing a press tour in India. People here are quite shocked. They don’t understand (why the film got negative reviews). They tell me, ‘It’s a really good film. We don’t understand what’s going on’. I said, ‘Welcome to the world of racism, guys’! This is it. I mean, for The Telegraph to give it zero stars, I must say that when I saw that review, I burst out laughing. I was like, ‘This is hilarious’ because it shows the world what I have to go through to raise funds and tell my stories.”
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The one role that Dharmendra wanted to play before he passed away was that of the septuagenarian lover from The Bridges of Madison County, the 1995 American film based on the 1992 bestselling novel of the same name by Robert James Waller.
Clint Eastwood starred opposite Meryl Streep in this autumnal love story and also directed this timeless romance.
Now, director Sriram Raghavan, who directed Dharmendra in his farewell film Ikkis, revealed that the veteran actor was keen on playing Clint Eastwood’s role.
“Dharam ji kept telling me, ‘Let’s do The Bridges Of Madison Country’. I had my Clint Eastwood in Dharam ji. But who would play Meryl Streep?” Sriram wonders as he prepares to release Ikkis on December 25.
“It is not a cameo. Dharam ji has a full-fledged role (in Ikkis). In spite of his age, Dharam ji was the life and breath on the sets. We felt much older than him. His enthusiasm was infectious. He would come on the sets with his lines fully memorized. He treated Bachchan saab’s grandson Agastya like his own grandson. He had so much love to give. So much more he wanted to do. Destiny had other plans,” said Sriram.
Being Dharam ji’s final release, Ikkis has acquired an added poignancy. “It is the story of a young soldier, who dies at 21. We lost Dharam ji while shooting. Luckily, I was able to show him 70 percent of the film. But I wish he watched the entire film.”
Also Read: Dharmendra’s anthology of poems to be published by the Deols and Hema Malini
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Disney is all geared up to bring the biggest release of the year, Avatar: Fire and Ash, in India in the best possible manner. The buzz is off the roof as experts are anticipating the James Cameron film to take the biggest start of the year in India. The month of Avatar has begun, and Bollywood Hungama has an exclusive scoop on the planning for the film’s arrival.
Reliable trade sources have confirmed that Disney has inked a 2-week deal with premium multiplexes for the film’s showcasing through the Christmas and New Year Period. A source told Bollywood Hungama, “Avatar: Fire And Ash will be screening all across the premium multiplexes in 3D format through the festive period, and the distributors in India have inked an exclusive 2-week deal for 3D, IMAX 3D, ScreenX and 4DX format. Given the unheard demand in audiences, the cinemas too have agreed on the same.”
The film arrives on December 19, and Disney plans to open the bookings well in advance. “The pre-sales for Avatar: Fire and Ash open on December 5, 2025. All the contracts are locked, and the makers are confident to score record results in the advance bookings for the year in India.”
For those unaware, Avatar: Way of Water had opened to Rs. 40 crores in India back in 2022, and it would be interesting to see if Avatar: Fire and Ash can recreate the same magic.
Also Read: Experience Pandora like never before: Fire and Ash preview plays with Avatar: The way of water
The post SCOOP: Avatar: Fire & Ash signs 2-week deal with premium multiplexes; advances open on December 5 appeared first on Bollywood Hungama.
It’s game on for Tere Ishk Mein. The film took a very good start, then jumped decently on Saturday, and has grown even more on Sunday as well to result in a weekend number of Rs. 50.95 crores. This is superb because the last theatrical outing of Aanand Rai and Dhanush, Raanjhanaa, had a lifetime score of Rs. 60.35 crores and now Tere Ishk Mein will surpass it in 5 days itself.
Of course, a lot has changed in the last 12 years, be it the ticket prices or the scale of release, which means in real value terms, Raanjhanaa numbers would be higher. Still, the manner in which Tere Ishk Mein is currently collecting, even after accounting for inflation it would be much bigger. In fact, though these are early days, the trending so far suggests that this Dhanush and Kriti Sanon starrer would end up being one of the biggest box office successes of 2025, something not many would have betted on at the beginning of the year.
The stage has been set well now as Sunday collections zoomed to Rs. 19.32 crores and now all eyes are on Monday hold. If it can somehow manage Rs. 8-9 crores, then that would be very good, though practically speaking anything over Rs. 6 crores would be quite good. In fact, it has to be seen that whether the makers would be opting for Blockbuster Tuesday offer for cheaper rates or would it instead retain regular weekday prices since the film is anyways doing quite well as it is.
Note: All collections as per various box office sources
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Last week, Bollywood Hungama reported that after Tu Meri Main Tera Main Tera Tu Meri and Naagzilla, Kartik Aaryan has been signed by Karan Johar for the third time. The makers have kept the details of this project under wraps, but we have been able to find information about this upcoming venture.
A source told Bollywood Hungama, “The film in question will be directed by Sandeep Modi, who has made a mark with acclaimed shows like Aarya and The Night Manager. He, Kartik Aaryan and Karan Johar were all set to make a war film. However, that movie didn’t materialise for various reasons. Kartik and Sandeep had formed a bond and promised to work together in the future when the right script comes along.”
This war drama was announced on Kartik Aaryan’s birthday in November 2023. It was scheduled to go on floors in 2024 and release on August 15, 2025.
The source continued, “Finally, earlier this year, Sandeep Modi pitched an idea of an entertaining film to Kartik Aaryan and Karan Johar. Both were quite impressed by the subject and decided to come on board as actor and producer, respectively.”
Though not much is known about this film, the source said that it’s not a battle saga that Sandeep was earlier supposed to make or even a reimagined version of it. The source said, “It’s a new script and has a lot of action. It promises to present Kartik Aaryan in a new avatar. Also, it would be different from the rest of the other two films that he’s doing with Karan Johar’s Dharma Productions.”
Tu Meri Main Tera Main Tera Tu Meri, co-starring Ananya Panday, is a romcom, which is all set to release on December 25. It is directed by Sameer Vidwans of Satyaprem Ki Katha (2023) fame. As for Naagzilla, it is a fantasy comedy which features Kartik as a shape-shifting naag. Directed by Fukrey director Mrighdeep Singh Lamba, the film releases in cinemas on Independence Day 2026. Kartik would have one more release in 2026 – an untitled musical love saga – co-starring Sreeleela and directed by Anurag Basu.
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Deepika Padukone’s sister Anisha will marry Rohan Acharya, great-grandson of filmmaker Bimal Roy. The wedding merges Deepika with Sunny Deol’s family, as Rohan is the brother of Drisha, Sunny’s son Karan Deol’s wife.
Interestingly, Deepika herself is related to the legendary filmmaker Guru Dutt whose real name was Vasanth Padukone.
Dharmendra was very proud of the fact that his grandson had married into the great Bimal Roy’s family. Now the legend in heaven must be smiling at being linked to another legendary filmmaker Guru Dutt, albeit through a very distant marriage.
Incidentally, none of the Deols would be able to attend the Anisa-Rohan wedding because of the tragedy in the Deol family.
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Bollywood actress and parliamentarian Jaya Bachchan sparked a sharp conversation around paparazzi culture during her recent appearance at the We The Women summit, where she openly criticised the behaviour of photographers who chase celebrities for unfiltered moments. Drawing a clear distinction between responsible journalism and the current paparazzi ecosystem, she expressed strong disdain for the way certain photographers operate in the entertainment industry today.
Speaking on stage, she said, “I am the product of a media. But my relationship with paparazzi is zero. Who are these people? Are they trained to be representing the people of this country? You call them media? I come from media. My father was a journalist. I have immense respect, tremendous respect for such people.”
She went on to question the professionalism and conduct of paparazzi commonly seen outside airports, restaurants, gyms, and film studios. “Magar yeh jo bahar drainpipe tight, gande gande pant pehen ke, haath mein mobile leke… they think that because they have a mobile, they can take your picture and say what they want. And the kind of comments they pass — what kind of people are these people? Kahan se aate hain? Kis tarah ka education hai? Kya background hai?”
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Her remarks instantly struck a chord online, stirring debate among media professionals, fans, and social media users. Many praised her for calling out the lack of training and ethics within the paparazzi system, while others argued that the paparazzi play a key role in shaping celebrity visibility in today’s social-media-driven landscape.
The actress, who has often maintained a private personal life despite her public profession, reiterated that her criticism was not directed at the media at large but at the unregulated and increasingly aggressive form of paparazzi culture that has taken root in recent years. She emphasised the need to distinguish between responsible journalism and casual, often intrusive content creators who blur ethical boundaries in pursuit of viral moments.
Her comments have reignited conversations about privacy, professionalism and the accountability of those who document public figures in India’s booming celebrity ecosystem.
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Shefali Shah has been one of Indian cinema’s finest performers, an actress whose talent and craft has consistently elevated every story she touches. Over the decades, she has built an enviable filmography with acclaimed projects like Satya, Dil Dhadakne Do, Delhi Crime, Jalsa, Human, Darlings and the list go on. But among her many memorable performances, one film continues to hold a special place even today is Monsoon Wedding, which completes 24 years today.
Mira Nair’s Monsoon Wedding, a groundbreaking ensemble drama, saw Shefali play Ria, a character whose quiet strength and emotional depth left a lasting impact on audiences worldwide. The film, featuring stalwarts like Naseeruddin Shah, Lillete Dubey, Vijay Raaz, and Tillotama Shome, has long been considered a cult classic in Indian cinema.
The film premiered at the Marché du Film section of the 2001 Cannes Film Festival and later won the prestigious Golden Lion at the Venice International Film Festival — a rare honour for an Indian film at the time. It was also nominated for a Golden Globe for Best Foreign Language Film and earned over $30 million internationally, cementing its legacy as a global success.
On the film’s anniversary, Shefali shared a heartfelt note on social media, taking her readers back to the shoot, a time she described as one big family coming together. She recalled mornings filled with group yoga, home-cooked breakfasts brought by Lillete Dubey, workshops led by Naseeruddin Shah, and Mira Nair’s focused, collaborative approach. In her post, she reflected not only on the warmth of the set but on how deeply the character of Ria stayed with her long after the film wrapped.
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Shefali wrote about how playing Ria was cathartic, though she hadn’t realised back then how the character would go on to become the voice of many women who had lived through similar trauma.
She also shared one memory that has stayed with her for years – an encounter with an elderly couple in Delhi. The woman, who had lived an experience similar to Ria’s, held Shefali’s hands in silence while her husband thanked her for giving his wife the strength to finally speak about something she had buried for years.
As Monsoon Wedding completes 24 years, the milestone isn’t just about the film’s global achievements but also a celebration of Shefali Shah’s ability to bring power to every role. Her journey continues to inspire, and Ria remains one of the most defining performances of her illustrious career.
Also Read: Shefali Shah joins IFP panel with enthusiasm; says, “I am excited to be a part of that spirit”
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