Meet 'Dhurandhar' producer and director Aditya Dhar's brother Lokesh: How the two are redefining filmmaking post the film's historic success

For decades, Hindi cinema has been defined by stars. Directors mattered, but the global imagination of Bollywood has almost always been actor-led. What Aditya Dhar and Lokesh Dhar are changing is that hierarchy replacing it with something more enduring: a filmmaker’s vision that audiences follow across projects, formats, and borders.

In doing so, B62 Studios has joined a rare global club. Marvel Studios built a universe through franchise architecture. Blumhouse redefined horror through scale and speed. A24 turned auteur ambition into a global brand. B62 Studios is now India’s answer to that tradition constructing an ecosystem that lives in theatres, on streaming platforms, and in the cultural consciousness of a genuinely global audience.

The evidence is in the body of work. In a span that most studios would consider a warm-up, B62 Studios has delivered Article 370, a politically sharp female led film that earned both critical respect and commercial success; Dhoom Dhaam, a confident streaming performer; Baramulla, a visceral, spine-chilling horror that redefined the genre in Indian cinema; and the _Dhurandhar_ franchise, which has become a phenomenon by any measure. Three distinct formats, four distinct successes, one unified standard of ambition and craft.

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_Dhurandhar_ is the most visible proof of what B62 is capable of. The franchise has set records across multiple international territories, crossed Rs 1,000 crore within its first week with the sequel, and is projected to surpass the lifetime global collections of any Indian film ever all without access to China or key Gulf markets. On Netflix, it held its place in the non-English Top 10 for weeks. Culturally, it has displaced DDLJ from Maratha Mandir and earned the kind of shorthand that belongs to very few films: the Sholay of this generation.

What makes all of it more remarkable is the speed. Both _Dhurandhar_ films were conceived, produced, and released within a combined 30-month window. Post-production, a process that typically demands nine to ten months for films of this scale, was completed in two to three. This is not just efficiency it is a production culture that is exceptional by any global standard.

Indian cinema is no longer competing within its own ecosystem. It is part of a global content economy where scale, narrative recall, and cross-platform longevity determine relevance. B62 Studios is not catching up to that reality. It is helping define it. Aditya and Lokesh Dhar are no longer just participants in world cinema. They are emerging as its peers.