
Dhurandhar: The Revenge is at the end of an extraordinary four-week theatrical run. The Aditya Dhar movie has cemented its place as one of the biggest blockbusters in the history of Indian cinema.
Ranveer Singh’s film opened on a massive note with Day 0 (Wednesday previews) alone raking in ₹43 crore net from 11,294 shows at 54.8% occupancy. The opening day was a thunderous ₹102.55 crore.
The first weekend was nothing short of spectacular. Saturday (Day 3) collected ₹113 crore and Sunday (Day 4) crossed it with ₹114.85 crore at a massive 76.1% occupancy.
Week 1 total stood at a mammoth ₹674.17 crore, which alone would be a lifetime blockbuster run for most films.
The second week saw a natural correction on weekdays, but the weekends kept delivering. Day 10 (2nd Saturday) brought in ₹62.85 crore while Day 11 (2nd Sunday) added ₹68.10 crore. The second week total came in at ₹263.65 crore.
By the third week, the film was clearly in its final commercial leg. Day 17 (3rd Saturday) collected ₹25.65 crore and Day 18 (3rd Sunday) added ₹28.25 crore. The third week closed at ₹110.60 crore.
Week 4 saw the film cruising to its final collections. Day 24 (4th Saturday) collected ₹13.50 crore and Day 25 (4th Sunday) added ₹14.50 crore. On Day 26 (4th Monday), the movie collected ₹5.20 crore while Day 27 (4th Tuesday) earned ₹7.05 crore. Most Hindi films these days fail to earn that amount on their release day.
For example, this year, Agastya Nanda’s Ikkis collected ₹7 crore, Rani Mukerji’s Mardaani 3 ₹4 crore and Do Deewane Seher Mein, starring Siddhant Chaturvedi and Mrunal Thakur, ₹1.25 crore on Day 1.
Last year, Kajol’s Maa opened with ₹4.65 crore, John Abraham’s The Diplomat with ₹4 crore and Dhadak 2 with ₹3.50 crore.
In 2024, Shahid Kapoor-Kriti Sanon's Teri Baaton Mein Aisa Uljha Jiya opened with ₹6.70 crore, Yami Gautam’s Article 370 with ₹5.90 crore and Akshay Kumar’s Khel Khel Mein with ₹5.05 crore.
Through Day 27 (4th Tuesday), the fourth week has collected approximately ₹47.40 crore. As of Day 27, the film has collected a total India net of ₹1,095.67 crore, with its India gross touching ₹1,311.68 crore. Worldwide, the film has grossed ₹1,712 crore, making it an unprecedented global phenomenon.
In a landmark moment for Indian cinema, the Dhurandhar franchise has become the first Indian film series ever to cross the ₹3,000-crore mark at the worldwide box office. The duology has collectively grossed ₹3,019.35 crore globally. It’s a number that no Indian franchise has achieved before.
The journey started with Dhurandhar, released on 5 December 2025. It smashed expectations, becoming the highest-grossing Hindi film at the time. It earned ₹840.20 crore net domestically and ₹1,307.35 crore worldwide.
It became the fourth-highest-grossing Indian film of all time and the third-largest without China. Dhurandhar 2 arrived just four months later, took the baton and ran even further. The spy thriller became the first film ever to cross ₹1,000 crore net in a single language at the Indian box office.
Disclosure: Numbers have been sourced from Sacnilk
Sounak Mukhopadhyay covers trending news, sports and entertainment for LiveMint. His reporting focuses on fast-moving stories, box office performance, digital culture and major cricket developments. He combines real-time updates with clear context for everyday readers. <br><br> Sounak brings newsroom experience across breaking news, explainers and long-form features. He has a strong emphasis on accuracy, verification and responsible storytelling. His work tracks audience behaviour, celebrity influence and the business of sport and cinema. He helps readers understand why a story matters beyond the headline. <br><br> Sounak has contributed to widely read digital publications. He continues to build a body of journalism shaped by consistency, speed and editorial clarity. He is particularly interested in the intersection of media, popular culture and public conversation in contemporary India. <br><br> At LiveMint, he writes daily coverage as well as analytical pieces that interpret numbers, trends and cultural moments in accessible language. His approach prioritises factual depth, balanced framing and reader trust. The reporting aligns with modern newsroom standards of transparency and credibility. <br><br> Outside daily reporting, he explores storytelling across formats including podcasts, filmmaking and narrative non-fiction. Through his journalism, Sounak aims to document the rhythms of modern entertainment and sports while maintaining rigorous editorial integrity. <br><br> Sounak continues to develop audience-focused journalism that connects speed with substance in a rapidly-changing information environment. His work seeks clarity, trust and lasting public value in every story he reports.
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