 "'Dhurandhar': Ranveer Singh's film longer than Ranbir Kapoor's 'Animal,' final runtime stands at 3 hours and 32 minutes")
Ranveer Singh’s film Dhurandhar is officially releasing in two parts and the second part is expected to release next year in May. The duration that was reported earlier was 3 hours and 5 minutes. But now a report says it’s one of the longest films of all time with a runtime of 212 minutes- 3 hours and 32 minutes.
A source said, “Dhurandhar Part 1’s length is said to be around 3 hours and 32 minutes. The final run time has been kept under wraps. But it’s expected to be close to 3 ½ hours long.”
It added, “The process of acquiring the censor certificate has begun. Once the Central Board of Film Certification (CBFC) passes the film in a few days from now, the exact run time will be known.”
The source continued saying, “ Dhurandhar tells a vast story and hence the lengthy run time. Director Aditya Dhar is an expert storyteller. Look at Uri: The Surgical Strike (2019) or his productions like Article 370 (2024), Dhoom Dhaam (2025) and the recently-released Baramulla (2025).”
“He always ensures that there’s a lot happening in his films and that the goings-on don’t feel stretched. Dhurandhar’s storytelling will be on the same lines. There would be so much happening that the audience would be gripped from start to finish.”
Based on a true story?
With Dhurandhar, Aditya Dhar once again turns to the intersection of history and national security, but this time he uses the grammar of a big-budget action thriller to explore how Pakistan’s intelligence establishment imagines its long confrontation with India. The film’s trailer suggests that Dhar isn’t just staging a cross-border conflict; he’s trying to dramatise the worldview that has shaped decades of covert operations.
The opening moment is a clue. Arjun Rampal appears as Major Iqbal, an ISI officer who recalls hearing Pakistan’s General Zia-ul-Haq speak of weakening India through “a thousand cuts.” Rampal’s character frames this not as a slogan but as an ideological inheritance, something he absorbed as a child and later internalised as a professional creed. Dhar immediately juxtaposes this memory with a disturbing scene of torture, signalling the ruthless, almost doctrinal commitment that drives the film’s antagonist.