Hindi
Box Office :Indifferent
MUMBAI: The week had a lineup of releases, mostly irrelevant and unpublicized. Strange, how they were expected to draw audience! Raman Raghav 2.0 was the only noticeable release, thanks to its controversy with CBFC; this only gave the film better of the bad lot status. The other film to register some footfalls was Junooniyat. The rest, Rough Book, 7 Hours To Go, DilTohDeewana Hai, were poor.
Raman Raghav 2.0 could not breach the one crore mark on day one despite grabbing media columns with its controversy with CBFC; probably, Anurag Kashyap’s own standing controversy with CBFC because of Udta Punjab eclipsed Raman Raghav 2.0.
The film collected Rs85 lakh on day one, adding a little extra to cross the Rs One crore mark on Saturday and Sunday being static, it ended its opening weekend with Rs3.6 crore.
Junooniyat, though on a very low side, made its presence felt at the box office by collecting Rs2.3 crore for its first weekend.
Udta Punjab did its most in its opening weekend with collections of Rs33.75 crore but failed to sustain Monday onwards as, over the next four days, the film managed to collect barely 50 percent of its weekend figures of Rs 14.05 crore, to take its first week total to Rs47.8 crore.
Dhanak, despite positive word of mouth, remained a low grosser. The film collectedRs1.25 crore for its first week.
Te3n, after an indifferent first week reception at the box office, goes for a free fall in its second week. The film collectedRs2.1 crore in its second week taking its two week tally to Rs17.2 crore.
Do Lafzon Ki Kahaniadded Rs25 lakh in its second week to take its two week total to Rs3.65 crore.
Houseful 3 saw through its third week with Rs3.5 crore taking its three week tally to Rs106.6 crore.
Hindi
UFO Cine Media Network unveils ‘India’s biggest cinema moment ever’
Dhurandhar 2 and Toxic tipped to deliver rare pan-India scale for brands
MUMBAI: UFO Cine Media Network is pitching an upcoming dual-film release weekend as what it calls the largest advertising opportunity cinema has offered in India, banking on an estimated 100 million cumulative footfalls nationwide.
The initiative, branded “India’s Biggest Cinema Moment Ever”, is anchored around the simultaneous release of Dhurandhar 2 – The Revenge and Toxic, two high-profile action films expected to dominate screens across regions and languages. Trade projections, supported by cinema measurement tool Procat, suggest the combined lifetime theatrical run could deliver one of the widest audience concentrations seen in recent years.
Dhurandhar 2 – The Revenge, an India–Pakistan spy thriller, is set to release in five languages, broadening its appeal across northern and southern markets. The franchise has already built a sizable multilingual following through theatrical runs and streaming platforms. Toxic, fronted by pan-India star Yash, is expected to draw heavy footfalls across southern circuits and beyond, buoyed by the actor’s proven box-office pull.
UFO, which operates an in-cinema advertising network spanning more than 4,100 theatres, is positioning the release window as a rare moment of synchronised national attention. Its footprint covers multiplexes and single screens across over 1,500 towns and cities, allowing advertisers to deploy campaigns at scale during a single weekend.
Executives at the company argue that cinema’s value lies not just in reach but in attention. Unlike digital or television, audiences are captive, emotionally engaged and free from distraction, they say, translating into stronger recall and measurable returns for brands. With advertisers increasingly focused on performance-led media planning, UFO is framing the dual release as comparable in scale to India’s largest broadcast and sporting properties.
Industry observers note that as theatrical exhibition expands deeper into Tier 2 and Tier 3 markets, such tentpole weekends are becoming anchor moments for annual media strategies. If Dhurandhar 2 – The Revenge and Toxic deliver as expected, the weekend could set new benchmarks not only for box office numbers, but also for cinema’s evolving role as a high-attention advertising medium.
