Hindi
DIAF pays tribute to Bimal Roy
NEW DELHI: The Delhi International Arts Festival (DIAF) recently organised a film festival on a rare gem of Indian cinema, Bimal Roy.
The tribute to the filmmaker was organised by the DIAF in collaboration with the Directorate of Film Festivals and the National Film Archives, India to commemorate his birth centenary with the screening of five Hindi films.
Roy’s son Joy and daughter Aparajita Sinha said that their father had lived for his cinema and gave full attention to the medium and would continue to live in the hearts of the people as long as people kept coming to see his films.
Rattnotama Sengupta, daughter of the late filmmaker and writer Nabendu Ghosh who had written most of Roy’s films said that the films of Roy came out of real-life characters and out of literature. Director of Film Festivals, S M Khan and Arshiya Sethi of DIAF also paid their tributes on the occasion.
Films screened in the Bimal Roy tribute section were Bandini, Parakh, Sujata, Do Bigha Zameen and Madhumati. The films were varied for their range. If Bandini was about the moral dilemma of a condemned woman and her struggle for social legitimacy, Parakh was about greed and lust for money. Sujata dealt with the divides created by casteism while Do Bigha Zameen told the story of a zamindar‘s hold on the rural poor. Madhumati was a commercial film with lighter moments tinged with some hints of re-incarnation.
It would not be wrong to describe Bimal Roy as a filmmaker who crossed national and international boundaries through his cinema. Noted for his realistic and socialistic films, Roy made around forty features and documentaries from 1944 till his death on 7 January, 1966 in Mumbai.
After a long stint in Kolkata, Roy launched Bimal Roy Productions in 1952-53 with Do Bigha Zameen that made a strong universal impact for its humane portrayal of Indian peasantry.
Do Bigha Zameen has the additional distinction of being one of the first Indian films to win awards and accolades in China, UK, Karlovy Vary, Cannes, the then Soviet Union, Venice and Melbourne.
It is considered one of the ten best Indian films of all time.
Hindi
Dhurandhar the revenge storms past Rs 1,000 crore in a week, rewrites box office records
Aditya Dhar’s spy thriller sets fastest run to Rs 1,000 crore with record-breaking weekday hold
MUMBAI: The box office has a new juggernaut—and it is moving at breakneck speed. Dhurandhar the revenge has smashed past the Rs 1,000 crore mark worldwide in just a week, clocking a staggering Rs 1,088 crore and resetting the rules of the blockbuster game.
Backed by Jio Studios and B62 Studios, and directed by Aditya Dhar, the spy action sequel opened to the biggest weekend ever for an Indian film globally—and then refused to slow down. Unlike typical tentpole releases that taper off after Sunday, this one powered through the weekdays with rare muscle, posting Rs 64 crore on Monday, Rs 58 crore on Tuesday, Rs 49 crore on Wednesday and Rs 53 crore on Thursday.
The numbers stack up to a formidable first-week haul. India collections stand at Rs 690 crore nett and Rs 814 crore gross, while overseas markets have chipped in Rs 274 crore, taking the worldwide total to Rs 1,088 crore in just eight days.
The film’s opening weekend alone delivered Rs 466 crore, laying the foundation for what is now being billed as the fastest climb to the Rs 1,000 crore club in Indian cinema. Every single day of its first week has set fresh benchmarks, from the highest opening weekend to the strongest weekday hold—metrics that typically separate hits from phenomena.
A sequel to the earlier hit Dhurandhar, the film has not just built on its predecessor’s momentum but obliterated previous records, emerging as the biggest global blockbuster run by an Indian film to date.
At this pace, the film is not merely riding a wave—it is creating one.
