The Hindi-dubbed version of Pushpa 2: The Rule, starring Allu Arjun, has achieved an unprecedented milestone by crossing the Rs 700 crore mark at the Indian box office from its Hindi-language shows alone. Directed by Sukumar, the sequel to the 2021 blockbuster Pushpa: The Rise has so far amassed Rs 704.25 crore in Hindi, setting a new record for Indian cinema.

The makers celebrated the achievement on social media, writing:
“Pushpa Raj introduces the 700 CRORE CLUB to HINDI CINEMA 💥💥 The FIRST EVER FILM to collect 700 CRORES in HINDI ✨ #Pushpa2TheRule collects massive 704.25 CRORES NETT in Hindi ❤‍🔥❤‍🔥,” in a post shared on X.

This milestone places Pushpa 2 in elite company, surpassing the previous records set by Hindi-dubbed and original Hindi films. A.R. Murugadoss’ Ghajini (2008) introduced the Rs 100 crore club, while Aamir Khan’s 3 Idiots (2010) and PK (2014) raised the bar with Rs 200 crore and Rs 300 crore collections, respectively. S.S. Rajamouli’s Baahubali 2: The Conclusion broke further records, entering the Rs 400-crore and Rs 500-crore clubs. Earlier this year, Stree 2 became the first Hindi film to surpass Rs 600 crore domestically.

Box office performance

Pushpa 2 began its theatrical run with a staggering Rs 725.8 crore nett across all languages during its opening week. In its second week, it added Rs 264.8 crore, maintaining strong momentum. The third weekend saw collections of Rs 14.3 crore on Friday, Rs 24.75 crore on Saturday, and a massive Rs 33.25 crore on Sunday. With an additional Rs 13 crore on Monday, the domestic tally now stands at an astonishing Rs 1,075.6 crore nett.

The Hindi version alone contributed Rs 704.25 crore, while the Telugu version added Rs 309.7 crore. Tamil, Kannada, and Malayalam versions brought in Rs 54.3 crore, Rs 7.4 crore, and Rs 14.05 crore, respectively.

The plot and cast

Picking up where Pushpa: The Rise left off, the sequel follows Pushpa Raj, played by Allu Arjun, as he expands his red sandalwood smuggling empire. The film also features Rashmika Mandanna, Fahadh Faasil, Jagapathi Babu, and Rao Ramesh in pivotal roles.

With its extraordinary box office success, Pushpa 2: The Rule has not only cemented its place in Indian cinematic history but has also set new benchmarks for future films to aspire to.

Sanjay Leela Bhansali’s much-anticipated film, Love and War, is already making waves in the film industry, boasting a stellar cast and a captivating storyline. The latest addition to this ensemble is the social media phenomenon Orhan Awatramani, popularly known as Orry. Making his cinematic debut, Orry has amassed a substantial online following and is set to take on a pivotal role in Love and War.

The film unfolds against a backdrop of tumultuous historical events, featuring a talented cast led by Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal. With Bhansali’s renowned flair for visual opulence and emotional resonance, Love and War is poised to be a cinematic spectacle.

Notably, Deepika Padukone will return for a special cameo, though details about her character remain under wraps for now. She has previously collaborated with Bhansali in iconic films like Goliyon Ki Raasleela Ram-Leela, Bajirao Mastani, and Padmaavat.

Sources close to the film reveal that Orry’s character represents a significant shift from his known social media persona; he will portray a homosexual character who serves as the best friend of Alia Bhatt’s character. Alia will embody a cabaret dancer, infusing her role with depth and emotional complexity during this chaotic historical period.

Ranbir Kapoor and Vicky Kaushal are set to portray officers in the Indian Armed Forces, further enriching the film’s war-torn narrative. Bhansali’s works are celebrated for their nuanced characters and intricate relationships, and Love and War seems ready to embrace that tradition. The film will explore themes of love, sacrifice, and identity within the context of historical strife, hinting at a storyline that intertwines personal tales with broader events.

While the specifics about Deepika Padukone’s character remain a mystery, her collaboration with Bhansali has already heightened expectations. Their past partnerships have yielded some of Bollywood’s iconic performances, and fans are eager to see what role she will take on in this ambitious project. Although the plot details remain mostly undisclosed, the film promises to weave together historical drama and intimate narratives, touching on romance, friendship, and national duty while providing a fresh perspective on familiar themes.

With excitement building, fans of both the cast and Bhansali’s prior films are eagerly awaiting the film’s release. If Love and War fulfills its potential, it may become one of 2026’s most talked-about films. As production continues, further insights into the plot, character dynamics, and additional cast members are expected to emerge.

For now, fans can only speculate on how this film will marry historical narratives with Bhansali’s signature storytelling style, a journey that is sure to resonate with audiences around the globe.

Shyam Benegal, the legendary filmmaker who revolutionized Indian cinema, has died at the age of 90. Known for his trailblazing contributions to parallel cinema, Benegal’s death marks the end of an era that redefined Indian filmmaking. His legacy, built on realism, social commentary, and a break from conventional narratives, continues to inspire filmmakers today. As the nation mourns the loss of a visionary, his remarkable body of work remains an integral part of India’s cinematic history.

In 1976, Indian cinema witnessed a turning point when Shyam Benegal, a trailblazing director, made his debut at the prestigious Cannes Film Festival. At a time when Cannes was still firmly grounded in the world of cinema, not yet a fashion-driven spectacle, Benegal’s film Nishant was featured in competition. It was a groundbreaking moment for both the director and Indian cinema as a whole, marking India’s arrival on the global film stage.

Benegal, at the age of 42, had already made a lasting impact with his previous film Ankur, which subtly introduced the nation to a new wave of filmmaking. Nishant, like Ankur, showcased a unique narrative style that was rooted in realism, tackling socio-political issues with a raw sensitivity that resonated with audiences. But it was the film’s Cannes screening that truly marked a turning point for Indian cinema.

The 1976 Cannes Festival was different from the glitzy, fashion-focused events we see today. It was a celebration of cinema in its purest form. However, Benegal’s presence was far from typical. Along with Nishant, the director brought along his two lead actresses, Smita Patil and Shabana Azmi, to the French Riviera. Although the film was accompanied by posters from the National Film Development Corporation (NDFC), a mix-up meant that the posters never made it to the festival, but the trio of Indians did.

Shabana Azmi later shared how they made an unforgettable impression at Cannes. “In a place where we had no money and everybody was throwing lavish parties, Shyam came up with this unique idea. He said, ‘I want both of you [Azmi and Patil] to wear your finest South Indian saris and walk the promenade from eight in the morning,'” Azmi recalled. While everyone else was dressed in beachwear, the two actresses, in their traditional silk saris, paraded the streets of Cannes. They became living advertisements for their film, greeting passersby and inviting them to the screening. This unconventional tactic helped them attract an audience in the absence of a big promotional budget.

The story of Nishant at Cannes is as much about the film as it is about the personalities behind it. Benegal, known for his modest approach, had a keen understanding of how to present Indian cinema on the world stage. In an era when films were promoted with lavish budgets and star power, Benegal’s approach was simple yet effective. The director was also a seasoned adman who had spent years in the advertising world before venturing into filmmaking. His commercial acumen translated well into his filmmaking, as evidenced by his strategy to promote Nishant at Cannes.

Benegal’s cinematic journey started with Ankur in 1973, a film that introduced a new era in Indian cinema. Following Nishant, he directed other masterpieces such as Manthan (1976) and Bhumika (1977). Together, these films laid the foundation for what became known as “New Cinema” in India, a movement that sought to tell more socially conscious, realistic stories, often drawing attention to issues of class, caste, and gender. Through his films, Benegal introduced a new generation of actors, including Shabana Azmi, Smita Patil, Naseeruddin Shah, Kulbhushan Kharbanda, Om Puri, and Neena Gupta, many of whom became icons of Indian cinema.

Benegal’s approach to filmmaking was notably collaborative. He ran a tight-knit ship where everyone, from the actors to the crew, contributed in whatever capacity they could. The actors, many of whom were at the beginning of their careers, often worked for little to no money, driven by their desire to be part of a revolution in Indian cinema.

In Nishant, Benegal pitted Shabana Azmi and Smita Patil against each other, creating a compelling dynamic that made the film stand out. While Azmi’s character received more screen time, Patil, who was making her feature film debut, played an equally significant role. The film, which was set against the backdrop of rural India, focused on social issues and gender dynamics, and it became known for its powerful female leads.

Nishant was nominated for the Palme d’Or at Cannes and won the National Film Award for Best Feature Film in Hindi. Benegal’s participation in the Cannes Film Festival in 1976 proved to be a turning point for Indian cinema, and his legacy continues to inspire filmmakers today.

With films that were ahead of their time and an unwavering commitment to realism, Shyam Benegal ushered in a new era for Indian cinema. He not only changed the way stories were told but also made sure that India’s voice was heard loud and clear on the world stage. Nishant at Cannes marked the dawn of a new era — an era where Indian films, for the first time, garnered the international attention they truly deserved.