BY CHRISTA LINCY

As Alpha completes its twelfth day in theaters, the box office performance reflects a quieter run compared to the usual high-stakes expectations associated with the YRF Spy Universe. Despite the novelty of being a female-led entry in the franchise featuring Alia Bhatt, the film is currently navigating its second week with modest figures. Let us take a look at how the latest numbers and occupancy trends are shaping up for the film. On its second Tuesday, Alpha recorded a net collection of 0.85 Crore across 2,344 shows. This marks a 13.3 percent growth compared to Monday's 0.75 Crore, though the daily earnings remain on the lower side for a project of this scale. With these latest numbers, the total India net collection has reached 55.20 Crore, while the domestic gross now stands at 65.77 Crore. (adsbygoogle = window.adsbygoogle || []).push({}) The global performance remains a key part of the film's journey. On Day 12, the international markets contributed 0.50 Crore, bringing the total overseas gross to 26.70 Crore. When we combine the domestic and international figures, the worldwide gross collection for Alpha has now reached 92.47 Crore. This has been achieved through a cumulative total of 65,445 shows scheduled since the release. A closer look at the North American market via data from Venky Box Office shows that the film earned 9,000 dollars on Monday, taking its total in the region to 910,000 dollars. The film is now very close to the 1 million dollar milestone. If this is achieved, Alpha will become Alia Bhatt's 10th film to reach this mark in North America. This is a significant achievement for her as a solo female lead, following the success of her previous hits: Gully Boy, Gangubai Kathiawadi, Raazi, Dear Zindagi, Kalank, 2 States, Badrinath Ki Dulhania, Humpty Sharma Ki Dulhania, and Rocky Aur Rani Kii Prem Kahaani. (adsbygoogle = window.adsbygoogle || []).push({}) The digital interest on BookMyShow also reflects a growing trend during the second week. On the second Monday, the platform recorded 10.8K tickets sold, which jumped to 17.29K tickets on the second Tuesday. This brings the total ticket sales on the platform to 951.72K. Occupancy rates for Day 12 show a logical progression throughout the day. The overall occupancy stood at 19.71 percent. Morning shows started slowly at 7.00 percent, but the numbers improved as the day went on. Afternoon shows recorded 17.54 percent, followed by 20.54 percent in the evening. As expected with action films, the night shows saw the highest engagement with 29.46 percent occupancy. (adsbygoogle = window.adsbygoogle || []).push({}) Regional performance highlights where the film is currently strongest. The National Capital Region led the charts with 23.8 percent occupancy across 307 shows, peaking at 34 percent for night screenings. Mumbai followed with 18.3 percent occupancy from 154 shows, with night shows reaching 28 percent. In other regions, Surat saw 14.3 percent occupancy across 87 shows, while Bengaluru recorded 13.0 percent from 86 shows. Ahmedabad had a more modest 11.5 percent occupancy from 153 shows. Performance within the national cinema chains on July 14 remained consistent with the overall trend. PVR sold approximately 1.6K tickets, resulting in a gross of 2.5 Lakhs. INOX followed with 0.8K tickets and a gross of 1.2 Lakhs, while Cinepolis added around 0.9K tickets for a 1.3 Lakhs gross. Collectively, these three chains accounted for 3.3K tickets and a total gross of 5 Lakhs for the day. This activity was recorded across 987 shows with an average occupancy of 2 percent. The stability in these urban centers is helping the film push closer to its next major milestones.

BY SUNIT JANGIR

Mumbai, July 15 - Netflix has released its latest Global Top 10 Non-English Films rankings, and Indian cinema continues to enjoy a strong presence on the platform. A total of five Indian films found a place in the weekly chart, led by fresh OTT releases and recent theatrical titles. Among them is Ram Charan's Peddi, which made its streaming debut with a relatively modest start despite arriving with considerable buzz following its theatrical release. (adsbygoogle = window.adsbygoogle || []).push({}) According to Netflix's weekly viewership rankings, Peddi garnered 1.9 million views in its first tracking week after premiering on the platform on July 9. It was the 5th most-watched non-English title during July 6-12. The sports drama managed to enter the Global Top 10 Non-English Films chart, but its opening viewership is on the lower side compared to several recent high-profile Indian releases on the streamer. Peddi had an average run at the box office, and its digital debut has followed a similar trajectory, opening without a major surge in viewership. The Hindi version of the film is yet to premiere, and it would have helped it score much better viewership data had it been streamed simultaneously, which is not the case. (adsbygoogle = window.adsbygoogle || []).push({}) Apart from Peddi, four other Indian films also secured places in Netflix's weekly global rankings, including Sunny Deol's direct digital release, Ikka (4.4 million) at 2, Daadi Ki Shaadi (2.1 million) at 4, Pati Patni Aur Woh Do (1.8 million) at 6, and Blast (1.1 million) at 8, underlining the consistent performance of Indian titles across languages on the streaming platform. The latest chart features films from different genres and industries, showcasing the diversity of Indian cinema and its growing appeal among international audiences. Having five Indian films in the same weekly chart is another indication of Netflix's increasing investment in Indian content and its worldwide consumption. Streaming viewership often builds over multiple weeks through positive word of mouth, and the coming weeks will determine whether the Ram Charan starrer can improve its performance. For now, Netflix's latest weekly rankings reaffirm the strong global footprint of Indian cinema, with five homegrown films earning a place among the platform's most-watched non-English titles.

BY CHRISTA LINCY

Ajith Kumar is set to begin work on his 64th feature film, tentatively titled AK 64, which brings a new production dynamic to the actor's career. The project is gaining attention for its star power and the specific involvement of his family in the production process. As the film enters extensive pre-production, the primary focus is on setting up a mass commercial entertainer that reunites a successful director-actor duo. One of the most discussed aspects of AK 64 is the official involvement of Shalini Ajith Kumar. It has been reported that she will be producing the film under the home banner, and her name is set to appear prominently on both the posters and the title cards. Beyond just being a presenter, industry sources suggest that Shalini is actively overseeing the project's finances, production operations, and overall progress. This hands-on approach from the family has added an extra layer of excitement for the fans and the trade alike. (adsbygoogle = window.adsbygoogle || []).push({}) On the creative side, the film sees Ajith Kumar reuniting with director Adhik Ravichandran. This collaboration comes right after their work on Good Bad Ugly, marking a rare instance of the actor working with the same director for two consecutive projects. The film is being designed as a mass commercial family entertainer, a genre that has traditionally worked very well for Ajith. Adhik is currently in the middle of extensive pre-production, with the team having already initiated the casting process and location scouting to ensure a smooth transition into filming. Anirudh Ravichander is set to compose the music for AK 64, marking another collaboration in a busy period for the actor and composer. This project follows their work on two other major Tamil films, including the 2025 action thriller Vidaamuyarchi and the action comedy Good Bad Ugly. By bringing Anirudh on board for this third project, the team is maintaining a consistent musical partnership that has defined Ajith Kumar's most recent filmography. (adsbygoogle = window.adsbygoogle || []).push({}) While the official title and more specific cast details are yet to be revealed, the current progress indicates that the team is leaving no stone unturned in the planning phase. The combination of a family-backed production, a director who understands Ajith's mass appeal, and a top-tier music composer makes AK 64 one of the most anticipated Tamil films in the coming year.

BY CHRISTA LINCY

The Odyssey has arrived in Indian theaters as a major Hollywood spectacle, quickly becoming the primary choice for fans of high-concept cinema and epic storytelling. Directed with a focus on immersive visuals, the film has built a reputation for its technical brilliance, making it a must-watch in premium formats like IMAX. The initial buzz has been centered around its groundbreaking effects and a production scale that demands to be seen on the largest possible canvas. As audiences settle in to experience this journey, the discussion has broadened to include the interesting economic landscape of its theatrical run, specifically the variation in ticket pricing across major Indian metros. One of the most talked-about aspects of this release is the pricing strategy. According to trade analyst Sreedhar Pillai, Chennai stands out as the most affordable metro to experience the film in IMAX. A ticket at PVR Palazzo in Chennai is priced at 508.34 rupees, which is likely the lowest rate for a metro in India. This is primarily due to the state government cap on ticket pricing, which prevents theaters from implementing flexi-pricing or charging premium rates for recliner seats. This makes the city an outlier compared to the rest of the country. (adsbygoogle = window.adsbygoogle || []).push({}) In contrast, other major cities are seeing much higher price points due to flexible pricing models that fluctuate based on show timings and seat types. In Mumbai, tickets are ranging from 900 rupees all the way up to 3,100 rupees for premium experiences. Delhi follows a similar pattern with a range of 800 to 2,500 rupees. Bengaluru and Kolkata also maintain a high entry point, with tickets starting at 900 rupees and peaking around 2,000 and 1,240 rupees respectively. These numbers highlight how much the local regulations and market demand can influence the cost of a single movie outing. Looking at the engagement on BookMyShow, The Odyssey has shown a very specific growth trajectory. The total ticket sales on the platform have now reached 160.84K. When you look at the daily breakdown, the film had a steady start throughout June, with sales fluctuating between 5K and 12K. For instance, on June 8, it sold 12.7K tickets, but then stabilized around the 5K mark for much of late June and early July. (adsbygoogle = window.adsbygoogle || []).push({}) However, the real story lies in the massive surge that began around July 10. The film jumped from 10.46K tickets on that day to 18.2K on July 11, and eventually hit a peak of 36.91K tickets on July 14. This sharp upward trend suggests that word of mouth is playing a significant role as the film moves further into its theatrical run. The jump from 23.01K on July 13 to nearly 37K the following day indicates a strong mid-week momentum that is quite rare for international releases unless the content is resonating deeply with the audience. The buzz surrounding the film is anchored by its technical brilliance and the reputation of the creative team. While high ticket prices in the North and West can sometimes act as a barrier, the surging sales figures show that audiences are willing to pay a premium for a high-quality IMAX experience. The Odyssey seems to be benefiting from being a visual-heavy project that demands to be seen on the largest possible screen, which explains why the pricing at premium venues remains so high despite the availability of cheaper options in cities like Chennai.

BY CHRISTA LINCY

Following the massive global success of Pushpa 2: The Rule, Allu Arjun appears to be focusing on a diverse slate of projects that span multiple regional industries. Rather than sticking to a single market, he is systematically collaborating with prominent filmmakers from the Tamil and Malayalam industries alongside his Telugu roots. This move suggests a calculated approach to strengthening his pan-Indian presence through a variety of genres over the next few years. The newest development that has caught everyone's attention is a rumored collaboration between Allu Arjun and Malayalam director Basil Joseph. The buzz started when Basil Joseph shared a social media post featuring an ICON cap set to a popular track from Arya 2. This has led to reports that the two are in the final stages of discussion for a film, often referred to as the B and B combo. If the deal is finalized, this project is expected to be a high-budget superhero entertainer that could start production by late 2027 under the Geetha Arts banner. (adsbygoogle = window.adsbygoogle || []).push({}) While the Basil Joseph project is the latest talk of the town, Allu Arjun already has two massive projects lined up. First is Raaka, or AA22, directed by Atlee. This project is currently under active production and is being described as a heavy-VFX sci-fi fantasy action entertainer. It features Deepika Padukone as the female lead with music scored by Sai Abhyankkar. Given the extensive post-production required for such a visual spectacle, the film is slated for a grand arrival between late 2027 and mid-2028. Following that, the actor is set to team up with Lokesh Kanagaraj for AA23. Initial styling and look tests for this project were recently completed in Mumbai, and regular shooting is expected to begin around December 2026 or January 2027. Backed by Mythri Movie Makers, this is touted to be a gritty action thriller with music by Anirudh Ravichander. There is significant speculation among fans regarding whether this film will eventually link into the Lokesh Cinematic Universe. (adsbygoogle = window.adsbygoogle || []).push({}) The long-term planning for Allu Arjun extends even further with a project featuring director Sandeep Reddy Vanga. This collaboration is expected to roll out closer to 2028 or 2029, as the director is currently occupied with other major commitments. With directors like Atlee, Lokesh Kanagaraj, and potentially Basil Joseph on his roster, the actor is systematically working with the most influential commercial filmmakers in the South. Basil Joseph, the director linked to this new project, is a unique talent who balances both directing and acting. While he is widely recognized for directing the 2021 superhero hit Minnal Murali, he has also been very active as an actor. His upcoming acting slate includes roles in Malayalam films such as Maranamass, Pravinkoodu Shappu, and the drama Ponman. Transitioning back to the director's chair for a star of Allu Arjun's stature would be a significant step in his career and a highly anticipated move for the audience.

BY CHRISTA LINCY

Comedy sequels often carry a certain level of expectations at the box office, and Dhamaal 4 seems to be finding its rhythm as the first week progresses. With a legacy built on ensemble slapstick humor, the buzz around this fourth installment has been focused on whether it can recreate the madness of its predecessors. Let us dive into the numbers to see how the film is holding up after its first five days in theaters. Most films typically experience a downward trend on their first Tuesday, but Dhamaal 4 has managed to pull off a surprise. The film earned 9.50 Crore on Day 5, marking a growth of 8.6 percent compared to Monday's collection of 8.75 Crore. This slight uptick during a weekday is a positive indicator of audience interest. This performance was recorded across 11,077 shows on Tuesday, bringing the total India net collection to 83.25 Crore. In terms of gross figures, the domestic total has now reached 99.44 Crore. (adsbygoogle = window.adsbygoogle || []).push({}) The global footprint of the film is also expanding. Based on early estimates, Dhamaal 4 added 1.50 Crore from overseas markets on its fifth day, taking the total international gross to 16.00 Crore. When we combine the domestic and international numbers, the early estimates for the worldwide gross collection currently stand at 115.44 Crore. So far, the film has played across a cumulative total of 54,779 shows since its release. Providing some specific context for the North American market, data from Venky Box Office shows that the film collected 67,000 dollars (approximately 56 Lakhs) on Monday. This brings the total North American gross to 575,000 dollars (approximately 4.83 Crore). The film is now steadily nearing the 1 million dollar mark. If this milestone is achieved, it will mark Ajay Devgn's 17th film to cross 1 million dollars in North America, highlighting his consistent appeal in the international circuit alongside the film's domestic run. (adsbygoogle = window.adsbygoogle || []).push({}) Looking at the digital footprint through BookMyShow, the film has crossed a significant milestone of 1.5 million tickets sold on the platform. The daily booking trend reflects the growth seen in the collections, as Tuesday saw 133,650 tickets booked, an increase from Monday's 124,050. However, in the context of the 2025-26 records for first Tuesday ticket sales, Dhamaal 4 narrowly missed a spot in the top ten. With 134K sales, it sits just behind Cocktail 2, while Dhurandhar 2 remains the leader of that list with 680K tickets. The overall occupancy for Day 5 was 20.78 percent. As is common with family entertainers, the night shows were the busiest with 29.31 percent occupancy. Morning shows started at a modest 9.31 percent, while the afternoon and evening slots saw a steady rise to 19.69 percent and 22.46 percent respectively. (adsbygoogle = window.adsbygoogle || []).push({}) Regionally, the National Capital Region was the most active hub, recording 24.5 percent occupancy across 1,050 shows. Mumbai followed with 21.8 percent occupancy from 839 shows. Other major regions like Ahmedabad and Bengaluru hovered around the 19 percent mark. Pune saw 16.0 percent occupancy, while Surat recorded a lower 14.3 percent. Looking at how the film performed in the major national chains, the figures show a steady level of support. PVR sold around 3.9K tickets resulting in a gross of 11.3 Lakhs. INOX followed with approximately 5.2K tickets and a gross of 11.8 Lakhs, while Cinepolis contributed 3.1 Lakhs from about 1.3K tickets. Together, these three chains accounted for 10.4K tickets and a total gross around 26 Lakhs for the day. This activity was spread across 3.57K shows, maintaining an average occupancy of 1.4 percent.