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Aditya Dhar’s Dhurandhar has created the kind of mania perhaps last seen with Sholay across the nation, though at that time, the demographics and everything else was way different.
So near-unanimous is the popular endorsement (and instant repeat watches, even by women!) that the film is nothing short of a mammoth phenomenon, and with its successor (and story ‘concluder’), Dhurandhar—Part 2: Revenge planned for a March 19, 2026 release, the sky may not be the limit but only a starting-point!
From early morning screenings to midnight ones, the film is nothing short of a festival that is going on unrelenting and unstoppable even on Day 12. What’s more, the film is a rage across the globe as well, with social media helping along with countless media reports and discussions, even as it fuels heated debates with a few people who are “upset” with its content.
While most have praised the film for its cinematic scale, gripping narrative and powerful stand, others see it as “overtly hyper-nationalistic”, calling its violence excessive, and terming it “unsettling and provocative”, “Anti-Muslim” and even “radically anti-Pakistani (!!!!)”.
Many Gulf countries have banned it due to its content over its sensitive theme or perceived anti-Pakistan narrative. According to this view, the film unabashedly promotes the existing government’s agenda, and the powers-that-be have allegedly blessed or endorsed the film as it follows their political stand.
Reacting to the controversy, BJP national spokesperson Rohan Gupta told the media, “I don’t think everything should be associated with religion. Dhurandhar is a film based on a true story, and the purpose of any film is to present reality to the audience. Linking everything to religion, even creativity, doesn’t seem right to me. Viewers should be allowed to exercise their own judgment about what feels right or wrong. Opposing creative work in the name of religion is not a healthy mindset,” he added.
BJP MP Bhim Singh added, “The film depicts terrorism, and it so happens that some terrorists are associated with Islam. If terrorists practice Islam, how is that the filmmakers’ problem? There should not be any objection to the film,” he said.
Needless to add, it has yet again been labeled a “propaganda” film like The Tashkent Files and above all, the mega-grossers, The Kashmir Files, The Kerala Story, though these films have exposed “hidden agendas” over the decades. For that matter, even Gadar—Ek Prem Katha (2001) and the recent Chhaava, which was a well-researched historical on Emperor Shambhaji, were given that color.
Many other films, like The Vaccine War, Bastar, The Bengal Files, The Taj Story and more have been thus branded. But “normal” viewers have hit out at the hypocritical dual standards where pro-India films are labeled “jingoistic propaganda” and films that soft-pedal Pakistan are called “balanced narratives” (the Tigerfranchise, Pathaan, Main Hoon Na). The “pattern” is called disturbing and the public response, despite planned vicious campaigns, negative reviews and “elitist” social media comments, belie their present “power” (or lack of it) that was there in the past.
Despite opening with 14,100 shows across India, the film refuses to slow down and more shows had to be added on Day 9 and Day 10—the second weekend. In a rare phenomenon, as an outburst of passion from the paying public, Dhurandhar notched higher collections in week 2 than in week one! Such a craze was last seen for the pan-Indian Telugu film, Baahubali 2. Dhurandhar has thus smashed all records and set new ones.
The graphic used shows the number of tickets sold each day in India—an incredible story of Vox Populi Vox Dei (the voice of the people is the voice of God!).
The Indian Express reports, “Dhurandhar worldwide Box-Office Collection Day 11 Update:The Aditya Dhar directorial Dhurandhar is currently running away at the box-office. Its collection grew even further during its second weekend, taking its Indian net numbers to Rs. 379 crore. According to industry tracker Sacnilk, this takes the film into the top 10 list of Hindi films when considering domestic net numbers. The film has earned Rs 588 crore globally and will enter the Rs 600-crore club today.
“The occupancy rates of the film averaged out at 42.35 per cent. The morning and afternoon shows achieved rates of 21.75 percent and 40.74 percent, while the evening and night shows had rates of 51.17 percent and 55.75 percent. The film is currently running on all pistons and may not be challenged until the release of James Cameron’s Avatar: Fire and Ash, which releases on December 19.”
Trade analyst Taran Adarsh took to X and wrote, “DHURANDHAR: THE VICTORY MARCH CONTINUES – AHEAD OF ‘PUSHPA 2’, ‘STREE 2’, ‘CHHAAVA’ ON *SECOND MONDAY*… Dhurandhar is on a record-smashing rampage, rewriting the boxoffice rulebook. The film has posted phenomenal numbers on its *second Monday* [Day 11] – a day that traditionally witnesses a noticeable dip… In fact, Day 11 [₹ 31.80 cr] is HIGHER than Day 1 [₹ 28.60 cr] – that says it all. dhurandhar now holds the record for the BIGGEST *second Monday* ever… dhurandhar: ₹ 31.80 cr. pushpa2 hindi: ₹ 20.50 cr. stree2: ₹ 20.20 cr. chhaava: ₹ 19.10 cr. dhurandhar is set to cross the ₹ 400 cr mark *today* [second Tuesday; Day 12] – a true game-changer in every sense. Dhurandhar [Week 2] Fri 34.70 cr, Sat 53.70 cr, Sun 58.20 cr, Mon 31.80 cr. Total: ₹ 396.40 cr. India biz | Official Nett BOC | boxoffice.”
And while some noted critics have breathed venom on Dhurandhar, veteran actor Paresh Rawal has sent a scything reply to one of them on X, asking the high-profile writer, “When will you stop being irrelevant?” And reports of Muslim audiences, even women, applauding the film and loving it seems to vindicate the fact that an honest film, made with the right intentions and in the right way, will be loved by all. In fact, it is plain silly to think that The Kashmir Files, The Kerala Story or Chhaava have become what they are only because of Hindu audiences.
To start with, Pakistan and Indian Muslims are two totally different entities.
