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 highly anticipated Hollywood epic, The Odyssey, has made a thunderous debut at the Indian box office, proving once again that high-concept international cinema has a massive footprint in the domestic market. On its opening day, the film collected a net of 16.10 crore rupees across a wide release of 8,413 shows. This strong start has pushed the total India gross collections to 19.22 crore rupees on day one itself. The narrative's scale and visual ambition seem to have resonated deeply with the Indian audience, particularly in the urban centers where premium screens are driving the revenue. The digital footprint of the film is perhaps even more impressive than the raw collection figures. On the popular ticketing platform BookMyShow, The Odyssey recorded a total of 611.53K tickets sold for its opening day. This was a combination of a very strong pre-sale period, which accounted for over 340,000 tickets, and a massive Friday surge that added another 271,530 tickets. These numbers place the film in elite company, ranking as the fourth-highest Hollywood opener in terms of Day 1 ticket sales on the platform. Here is how the top five Hollywood openers currently stand in terms of BookMyShow Day 1 sales: Deadpool & Wolverine: 842K Avatar: Fire and Ash: 840K The Conjuring: 814K The Odyssey: 612K Mission: Impossible – The Final Reckoning: 487K (adsbygoogle = window.adsbygoogle || []).push({}) The trajectory of these pre-sales provides a fascinating look at how the buzz for the film intensified as the release date approached. While the initial weeks of June saw a steady but modest interest, the momentum shifted gears significantly in mid-July. The final three days of the pre-sale period were particularly explosive, with daily bookings jumping from roughly 36,000 to over 114,000 tickets just before the Friday premiere. This surge highlights how the marketing campaign successfully converted general awareness into definitive ticket sales in the final stretch. Here is the detailed daily breakdown of the pre-sale journey on BookMyShow: 8 June: 12.7K 20 June: 8.24K 29 June: 5K 30 June: 5.1K 1 July: 5.52K 6 July: 5K 7 July: 5.4K 9 July: 5K 10 July: 10.46K 11 July: 18.2K 12 July: 20.3K 13 July: 23.01K 14 July: 36.91K 15 July: 63.81K 16 July: 114.84K Final Pre-Sales: 339.49K (adsbygoogle = window.adsbygoogle || []).push({}) A closer look at the performance in national chains reveals that the film dominated the multiplex environment. According to the daily advance and performance data, the top three chains—PVR, INOX, and Cinepolis—accounted for a significant portion of the opening day gross. The total gross from these national chains stood at approximately 9.5 crore rupees from roughly 163,600 tickets sold. PVR led the charge with about 89,400 tickets sold, generating a gross of 5.3 crore rupees. INOX followed with nearly 52,700 tickets contributing 2.9 crore rupees, while Cinepolis added approximately 21,500 tickets with a gross of 1.3 crore rupees. The average occupancy across these chains was a healthy 20.20 percent over 3,745 shows. The Odyssey wave is particularly evident when comparing it to other recent Hollywood releases. By selling over 612,000 tickets on its first day, it comfortably outpaced the opening of Mission Impossible: Final Reckoning, which recorded 487K tickets. This suggests that the film has successfully transitioned from being a niche interest to a mainstream phenomenon in India. The sheer volume of shows—over 8,400 across the country—indicates that distributors had high confidence in the film's appeal, a gamble that appears to have paid off given the 16 crore plus net opening. (adsbygoogle = window.adsbygoogle || []).push({}) As the film enters its first weekend, the momentum is expected to build even further. With very little competition in the high-spectacle genre right now, The Odyssey has a clear path to dominate the premium formats like IMAX and 4DX. If the word-of-mouth remains as strong as the initial ticket sales suggest, we could be looking at one of the highest-grossing Hollywood films of the year in India. The next few days will be crucial to see if the film can maintain its 20 percent plus occupancy rates as it expands its reach beyond the major metros.

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 CHRISTA LINCY

The long-standing anticipation surrounding Rocking Star Yash's next move is finally shifting from speculation to reality. After the massive global success of the KGF franchise, the focus has moved entirely to his upcoming project, Toxic: A Fairy Tale for Grown-Ups. Industry trackers and trade reports suggest that the makers are preparing a massive trailer launch event in Bengaluru on August 8, 2026. This isn't just a standard digital release; it is being positioned as a major promotional spectacle to set the tone for its worldwide theatrical debut on August 26. The path to securing a final release date for Toxic has been a complex process of tactical shifts and high-stakes planning. Initially scheduled for April 10, 2025, production hurdles and logistical challenges pushed the project into the following year. A brief window on March 19, 2026, was considered, but trade circles quickly noted a potential collision with Ranveer Singh's Dhurandhar. To avoid this clash and navigate specific market sensitivities in the Middle East, the date was moved to June 4, 2026. However, it was the strong international feedback following a showcase at CinemaCon that led to the final decision. By locking in August 26, 2026, the team is now prioritizing a global distribution strategy that gives this high-budget venture the breathing room it needs to perform across diverse territories. (adsbygoogle = window.adsbygoogle || []).push({}) What makes this project particularly interesting from an industry perspective is the collaboration between Yash and director Geetu Mohandas. Known for her critically acclaimed, grounded storytelling in films like Moothon, Geetu is now steering a project with a reported budget ranging between 850 and 1,000 crore rupees. This transition from independent-style sensitivity to a high-stakes, pan-world gangster epic set in the Goa underworld of the 1940s to 1970s is a bold move. It suggests that Toxic will likely prioritize character depth and stylized grit over the standard high-decibel action tropes we often see in big-budget cinema. The promotional strategy has already started building a unique identity for the film. The recent Ladies and Ladies teaser was a strategic choice, shifting the spotlight onto a powerful female ensemble that includes Kiara Advani, Nayanthara, Huma Qureshi, and Rukmini Vasanth. This indicates that while Yash remains the central draw, the narrative architecture depends heavily on these supporting characters. Furthermore, the track Tabaahi has already generated significant digital traction. The chemistry between Yash and Kiara Advani in the song has served its purpose, keeping the film trending across social media platforms and broadening its appeal beyond the traditional action-seeking demographic. (adsbygoogle = window.adsbygoogle || []).push({}) When we look at the box office trajectory, the stakes are significantly higher than they were during the KGF era. KGF: Chapter 2 was a phenomenon that built its momentum over years, eventually becoming a benchmark for Indian cinema. Toxic, however, is entering the market with the pressure of a massive 1,000-crore investment. To be profitable, it needs to perform exceptionally not just in the domestic markets of Karnataka and the Hindi belt, but also internationally. Shooting the film simultaneously in Kannada and English is a clear indicator that the producers are targeting a global footprint from day one. The choice of Bengaluru for the August 8 event is a calculated nod to Yash's roots, ensuring that the local fan base remains the core of the film's energy before it scales up. If the trailer hits the right notes, the August 26 release could potentially challenge existing opening-day records, though the ultimate test will be how the audience reacts to this newer, more stylized version of the superstar.

BY SUNIT JANGIR

Mumbai, July 18 - Christopher Nolan has achieved a new milestone in India as The Odyssey registered the biggest opening day of his career at the Indian box office. The epic fantasy adventure collected 19.25 crore gross (updated) on its first day across all languages, surpassing the opening-day collections of the filmmaker's previous blockbuster Oppenheimer (17.50 crore gross) in the country. (adsbygoogle = window.adsbygoogle || []).push({}) The strong debut also ranks among the biggest Hollywood openings ever in India and marks the best start for an international film in 2026. The record-breaking opening was fueled by excellent bookings, packed IMAX shows, and strong occupancy across premium multiplex chains. Christopher Nolan's popularity among Indian audiences, combined with the film's large-scale visuals and positive early word of mouth, translated into impressive footfalls from the very first show. The original English-language screenings led the business with around 15.50 crores gross, while dubbed versions also contributed to the overall tally. With this performance, The Odyssey has overtaken the opening-day numbers of Nolan's previous films, including Oppenheimer, Tenet, Interstellar, and Dunkirk, making it the director's highest opener in India. (adsbygoogle = window.adsbygoogle || []).push({}) The film's performance further reinforces India's growing importance for premium Hollywood releases, particularly those designed for the IMAX experience. The film now heads into its weekend with strong momentum. Given the overwhelmingly positive audience response and sustained demand for premium-format screenings, The Odyssey is expected to post an excellent weekend total, even as it faces competition from domestic releases. Worldwide, The Odyssey scored $40 million through Thursday (Friday numbers not included), including 17.60 million from domestic (North America) previews. The movie is projected to score $110+ million in North America and $120+ million internationally, for the worldwide opening weekend of $230+ million, which will be the biggest non-Batman opening for Nolan.

BY SUNIT JANGIR

Mumbai, July 18 - Christopher Nolan's film is often treated more as a global event than a standard movie release, and The Odyssey, the most ambitious film of the director's career, 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 made its debut on July 17, it is not just the technical scale that is making headlines, but the critical and commercial reception as well. With a staggering 95 per cent 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. (adsbygoogle = window.adsbygoogle || []).push({}) 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. As for the box office, the film has had an excellent start in India, scoring Nolan's biggest opening with around 19.25 crores in gross, beating Oppenheimer's 17+ crores gross start. Overall, the worldwide opening day is around $100 million. The Odyssey is eyeing growth on its second day at the Indian box office. For context, the movie sold around 140K tickets in three national chains on the opening day, while second-day sales were around 150K in PIC (PVR, INOX, and Cinepolis). If the momentum continues throughout the day, it will be aiming for 25 crore gross day. As of 9 AM on Day 2, the movie has already scored 1.75+ crores gross, indicating a solid day at the box office. The day 2 started on a strong note, with 25% occupancy in the English 2D version. The movie is once again strong in South Indian states, where overall morning occupancy is around 35%. The IMAX version is super strong. After a 5+ crore gross opening day, the film is heading to score a bigger day in the premium format. (adsbygoogle = window.adsbygoogle || []).push({}) #TheOdyssey is an absolute cinematic masterpiece, where #ChristopherNolan holds your attention from the first frame till the last. The filmmaker packages multiple genres in one film - from love story, and family drama, to action, emotion, adventure, and mythology - and all of… pic.twitter.com/OafDINbItj— Himesh (@HimeshMankad) July 16, 2026 CinemaScore is in for #TheOdysseyASame as Oppenheimer and entire Dark Knight trilogy.RT aud score holding strong at 97%. Moviegoers have spoken! pic.twitter.com/kctYtJBJk7— Gitesh Pandya (@GiteshPandya) July 18, 2026 (adsbygoogle = window.adsbygoogle || []).push({}) #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

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

The collaboration between Natural Star Nani and director Srikanth Odela has become one of the most anticipated projects in Tollywood's 2026 calendar. Titled The Paradise, the film serves as a high-stakes reunion for the duo following their 2023 blockbuster, Dasara. While the project has been under wraps for some time, recent market developments have highlighted just how massive this spectacle is going to be. In a major development for the trade circuit, the theatrical rights for the Nizam region have reportedly been bagged by Mythri Movie Makers. Industry insiders suggest the deal was closed for a reported ₹37 crores, an unprecedented figure for a Nani starrer in this territory. This deal serves as a strong market signal, indicating high distributor confidence in Srikanth Odela's vision and Nani’s box office pull. (adsbygoogle = window.adsbygoogle || []).push({}) The scale of The Paradise is significantly larger than anything Nani has attempted before. The film is being produced on a staggering reported budget that has now escalated into the ₹160 to ₹200-crore range. To put this into perspective, this budget effectively triples the cost of Nani's other concurrent franchise, HIT: The Third Case, which was made for a reported ₹70 crores. The spike in production costs is attributed to director Srikanth Odela's meticulous action choreography and the ambitious nature of the shoot. On the casting front, Nani is set to appear in a rugged transformation as a raw, heavy-bearded fighter named Jadal (or Dhagad). The film also marks the intense Telugu debut of Bollywood actor Raghav Juyal, who plays the primary antagonist, Vikram Malik. Adding further weight to the ensemble is veteran actor Mohan Babu, who portrays a character named Shikanja Malik, alongside Kayadu Lohar and Sonali Kulkarni in pivotal roles. (adsbygoogle = window.adsbygoogle || []).push({}) While fans were initially expecting an August release, the latest industry buzz indicates a shift in the timeline. Originally locked for August 21, 2026, the film is reportedly facing production delays as approximately 30 to 35 shooting days are still pending. Trade reports now reveal that the team is targeting a late September release, specifically September 24 or 25, 2026. This extra time is believed to be necessary to ensure the high-octane action sequences meet the global standards the makers are aiming for.

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 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