Saiyaara Box Office Day 10: Ahaan Panday-Aneet Padda Film Makes A Whopping Rs 30 Cr On Second Sunday
Saiyaara, directed by Mohit Suri and starring Ahaan Panday and Aneet Padda, has crossed Rs 300 crore worldwide in nine days. On day 10, it earned Rs 30 crore in India.
Saiyaara box office collection day 10: Ahaan Panday and Aneet Padda have officially arrived. Their debut film Saiyaara is proving to be a box office beast, and it's doing what most romantic dramas rarely manage — pulling massive crowds and raking in serious money. Directed by Mohit Suri, the film has crossed the Rs 300 crore mark worldwide in just nine days, making it one of the biggest box office stories of 2025.
According to early estimates as quoted by trade tracker Sacnilk, Saiyaara earned around Rs 30 crore (India net) on its tenth day, that is Sunday. With strong word of mouth and no real competition at the moment, the film's theatrical run is expected to continue at full throttle into the coming week.
On Day 10, the film's Hindi (2D) occupancy rates remained solid across the board: morning shows clocked in at 23.21%, afternoon at 56.38%, and evening shows peaked at 63.46%. The numbers are strong, and the audience interest shows no signs of slowing down.
At this pace, Saiyaara could soon surpass the lifetime collection of Kabir Singh (Rs 377 crore) — which would make it the highest-grossing Indian romantic film of all time (non-inflation-adjusted). All eyes are now on how it performs in its second full week.
Meanwhile, a report by The Times of India revealed that the makers have closed a deal with streaming giant Netflix for the film's OTT release. However, owing to the film's ongoing theatrical momentum, the digital premiere has been delayed. Saiyaara is now expected to debut on Netflix around Diwali, offering audiences a festive treat later in the year.
Saiyaara is a 2025 Indian Hindi-language musical romantic drama directed by Mohit Suri and produced by Yash Raj Films. The film marks the acting debut of Ahaan Panday and also stars Aneet Padda in a leading role. Loosely inspired by the 2004 Korean film A Moment to Remember, Saiyaara tells the story of Krish Kapoor, a troubled musician who finds an unexpected emotional connection with Vaani Batra, a quiet and introspective poet. Released on 18 July 2025, the film opened to largely positive reviews from both critics and audiences. Praise was particularly directed at the performances of Panday and Padda, Suri's sensitive direction, and the soul-stirring soundtrack.
First Published:
Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Pink Villa
12 minutes ago
- Pink Villa
Box Office: Su from So has superb opening weekend in Kannada, Shaneel Gautham's horror comedy collects Rs 7 crore, hits capacity on Sunday
Directed by JP Thuminad, So from So is the latest addition to the box office race. Released on July 25, 2025, the Kannada release stars Thuminad along with Shaneel Gautham, Sandhya Arakere, Prakash K Thuminadu, Deepak Rai Panaje, and Mime Ramdas. The film had a superb trend in the opening weekend in Karnataka. Let's look at what the first three days of Su from So looked like. Su from So collects Rs 3.5 crore on Sunday Produced under the banner of Lighter Buddha Films, Su from So has witnessed a phenomenal trend in the opening weekend. The Shaneel Gautham starrer opened at Rs 1 crore on Friday. It then recorded Rs 2.5 crore on Saturday and Rs 3.5 crore on Sunday. This is to note that the Kannada release showed a 250 percent jump yesterday from what it earned on its debut day. JP Thuminad's directorial has earned Rs 7 crore in the first weekend at the Karnataka box office. Su from So to emerge successful at the Karnataka box office Backed by Shashidhar Shetty Baroda, Ravi Rai Kalasa, and Raj B Shetty, Su from So is likely to become a big winner for Kannada film industry. The recently released movie has shown early signs of breaking out. The horror comedy has received positive reception among critics and the audience. The opening weekend witnessed a rise in showcasing as well. On Sunday, it recorded 100 percent occupancy, with every single show in Karnataka putting up a full house. This is unprecedented, and it shows the demand the Kannada release has from the audience. The business on Sunday could have been higher with more capacity. However, the film was hit by occupancy issues. It is safe to say that horror comedy is turning out to be the safest genre across industries. Su From So in theaters Su From So is running in theaters near you. You can book the tickets for Shaneel Gautham's horror comedy movie online. Stay tuned to Pinkvilla for more box office updates. Disclaimer: The box office figures are compiled from various sources and our research. The figures can be approximate, and Pinkvilla does not make any claims about the authenticity of the data. However, they are adequately indicative of the box-office performance of the films in question.
Indian Express
12 minutes ago
- Indian Express
‘Masaan' at 10: It opened a window for indie cinema. Today, we are witnessing its quiet vanishing
Written by Anurag Minus Verma Masaan, the cult classic, just turned 10. It took me down memory lane. Back in 2011, I randomly messaged Neeraj Ghaywan on Twitter, saying I wanted to work in the film industry but was confused about how to get a shoe in. I had never been to Mumbai and had no idea what kind of struggle lay ahead. Neeraj, then assisting Anurag Kashyap on Gangs of Wasseypur, gave me his number and asked me to call. I still remember that conversation. He told me he had quit a well-paying job, was working 15-hour days as an assistant director, barely earning anything. 'I joined this industry a bit too late. You're in your early 20s, so it's the best time to come here,' he said. Four years later, Masaan premiered at Cannes. Neeraj cried during the standing ovation. And I remembered that voice on the phone: Uncertain, worn out, yet still chasing cinema as if all the answers to life's quiet miseries lay hidden in moving images, flickering in the dark, hypnotising strangers in silence. I messaged him a few days ago to ask if he had any specific memory from those days. He said: 'There was a time during those early days in Banaras when I had cramps even in my soles. I could barely walk. It felt surreal, like someone might tap me on the shoulder and say it was all a prank. But it wasn't. Despite the exhaustion and low pay, I never had second thoughts. I was having the time of my life.' To understand how Masaan was made 10 years ago, and how someone like Neeraj could be so afflicted with the desire to make films that he gave up everything for it, one must consider the kind of cinema that surrounded him. At the time, Indian cinema was going through a quiet rebellion. Films like Udaan (2010), Court (2014), Fandry (2013), The Lunchbox (2013), Ankhon Dekhi (2013), Miss Lovely (2012) and Sulemani Keeda (2013) emerged in that era. The idea of the independent film had begun to feel less imported. Its charm was so persuasive that even Ekta Kapoor, the architect of Indian television's saas-bahu New Wave, financed Love Sex aur Dhokha (2010). Metaphorically speaking, it was as if the big mall of Bollywood had started allowing a few local vendors to set up carts inside. Masaan, during that time, stood out by walking a line most films stumble on. It had the quiet ambition to merge world cinema sensibility with the storytelling pace of accessible commercial cinema. At the time, that was unusual. It wasn't loud in its portrayal of caste, the way some films flaunt their virtue. Nor was it so subtle, like much of arthouse cinema, that the idea melted into metaphor and escaped notice altogether. Masaan treated caste as a sadness that sits at the centre of love stories in India. Unlike the films and television shows that came later and kickstarted the 'small town' wave, Masaan didn't romanticise or exoticise the hinterland. There were no peppy background tracks layered with Spanish guitar to sell the charm of small towns or villages. The town in Masaan breathed, burned, and its people waited for something better, with no promise it would come. In that sense, Masaan offered a template for what Mumbai cinema could have become: Rooted in Indian reality, shaped with artistic clarity, yet still emotionally accessible to the public. The recent film All We Imagine as Light by Payal Kapadia too tries to walk that delicate line between arthouse and commercial cinema, between politics and love, managing a theatrical release and being embraced by many. Like Masaan, it proves that this bridge can be built, just not very often. A decade later, the space for such films feels even more fragile. The idea of the indie film itself seems to be fading, not with a final collapse, but with a quiet vanishing. What could have been a strong foray into stories with emotional depth and artistic clarity never quite passed the baton. Instead, the torch dimmed somewhere in the distance, and nobody seemed to care. I spoke to Varun Grover, Masaan's writer, too, for the occasion, who explained the cultural shift over the last decade: 'Today, if I took the Masaan script to anyone, I doubt it would be made. No studio or production house would step up like they did in 2015. Back then, the algorithm didn't control everything. In fact, people encouraged anti-algorithm films. Now, OTT platforms are even tougher. Executives only care about what the data says. YouTube might be the last standing platform for original voices, but even that is shrinking rapidly. Outside of that, I don't think there's much left. It's a pessimistic thing to say, but even in 2015, people were already pessimistic. They just didn't know how much more despair was coming. Maybe in 2035, I'll look back and say 2025 wasn't so bad. By then, maybe creators won't exist. Robots will create, watch, and distribute content. We'll just sit on the sidelines, doing our podcast, talking to each other and that's it.' The writer is an author, podcaster and multimedia artist
India.com
12 minutes ago
- India.com
Meet Akshay Kumar and Aamir Khan's heroine, who didn't have kids for 22 years, now raises 160 children; one film destroyed her career, was forced to do…, her name is…
There have been many actresses in Hindi cinema who were in the news for their film career as well as their personal lives. One of these actresses was Ayesha Jhulka. Ayesha was one of the popular actresses of the 90s, and as much as she made headlines with her films, she was also in the news for her personal life. She made her acting debut with the Telugu film 'Neti Siddhartha' released in 1990 and entered Bollywood with Salman Khan's 'Kurbaan' in 1991, and her first film itself gave her recognition among Bollywood and fans. Who is Ayesha Jhulka? Still couldn't guess which actress we are talking about? It is none other than Bollywood actress Ayesha Jhulka. From her childhood, Ayesha dreamt of becoming an actress. Her dream of becoming an actress soon became a reality when she first appeared as a child artist, playing the character of Chanda. In this film, she worked with actors like Salman Khan, Sunil Shetty, and Kabir Bedi and proved her acting prowess. When Ayesha Jhulka debuted in Bollywood, many other new actresses had started their careers. But Ayesha won the hearts of the audience with her innocence and acting. What kind of film did Ayesha feature in? Ayesha Jhulka worked in many great films in her career, including 'Jo Jeeta Wohi Sikandar' with Aamir Khan, 'Khiladi' with Akshay Kumar, and 'Waqt Hamara Hai' with Sunil Shetty, Akshay Kumar, and Mamta Kulkarni. Ayesha Jhulka impressed everyone with her acting in these films. This film ended Ayesha's run in Bollywood But 'Dalaal', released in 1993, ruined her career. Mithun Chakraborty was in the lead role with her in this film, which was successful at the box office, but Ayesha always regretted working in this film. Bold scenes were shot in the film through her body double without informing Ayesha, and she felt betrayed. This film also caused a lot of damage to her career and reputation. Ayesha Jhulka looks after 160 children Ayesha Jhulka married Sameer Vashi in 2003, but even after 22 years of marriage, she has no children. In conversation with Bollywood Bubble, Ayesha Jhulka revealed that the decision not to have children is her own. During this, she said that she never did anything to please others. However, despite not having children, Ayesha is raising 160 children. The actress has adopted two villages in Gujarat, and she bears the expenses of food and education of 160 children here. Ayesha Jhulka's dating controversy Ayesha Jhulka once dated her co-actor Armaan Kohli of 'Kohra' and 'Anam', she was about to marry him, but after his betrayal, she broke up with the actor. Talking about this in an interview, she said, 'I had stopped signing films because I was about to get married, but there are no plans for marriage and I am back here.' Ayesha and Armaan's relationship was the most talked about in the 90s. Armaan cheated on her, which led to their breakup. Ayesha stated in a recent podcast that she does not even want to talk about Armaan anymore.
