 "'Dhurandhar' Box-Office: Ranveer Singh and Aditya Dhar end week one on a thunderous Rs 218 crore as the spy drama sets new records")
Posting a mighty ₹29.40 crore on Day 7, the film wrapped a stellar first week, fuelled by unprecedented word of mouth and an audience wave that refuses to slow down. With extraordinary growth from Monday through Thursday, Dhurandhar has stormed to a massive Week 1 total of ₹218.00 crore nett (India).
Jio Studios & B62 Studios’ Aditya Dhar directorial has connected with India and Indians across the world, who have truly made this film their own, delivering one of the strongest Week 1 trends in recent times and well on its way to writing history.
Opening weekend: ₹106.50 crore
Monday: ₹24.30 crore
Tuesday: ₹28.60 crore
Wednesday: ₹29.20 crore
Thursday: ₹29.40 crore
Week 1 Total: ₹218.00 crore NBOC (India)
How Aditya Dhar and DOP Vikash Nowlakha Built the Look of Dhurandhar
For all the noise around box-office milestones and the espionage spectacle of Dhurandhar , the film’s most quietly radical achievement lies in its visual language. Aditya Dhar’s comeback may be celebrated for ambition and scale, but its emotional force comes from how it looks, breathes and traps the viewer inside its world. The cinematography, led by DoP Vikash Nowlakha, is the film’s spine.
Nowlakha tells us, “I’ve waited my entire life for a film that allowed this texture … and with this one Aditya truly let me off the leash - for this I’m grateful ! The stakes were high and the clock’s always ticking - but this one in particular had a tremendous amount of material to cover. We shot the equivalent of 4 movies in the time and budget allotted for one. Often, in the most chaotic of situations - if it could break - it broke …. mayhem was the mainstay and that became a language ! But then again - ‘calm seas have never made a good sailor’. The world of the film should feel like it is watching you back.”
Games
View AllOne of the striking choices is the film’s commitment to shadow as narrative. Instead of treating darkness as an aesthetic flourish, Dhurandhar uses it as subtext. Narrow corridors, dim Karachi safehouses, cramped rooms with a single practical light source – the visuals linger.