
Aamir Khan's Sitaare Zameen Par adds Rs 2.5 crore over the weekend despite ‘Saiyaara' wave
Aamir Khan
's Sitaare Zameen Par has proved its staying power at the box office, holding strong even as
Mohit Suri
's much-talked-about romantic drama Saiyaara, starring newcomers
Ahaan Panday
and
Aneet Padda
, stormed into cinemas with record-breaking collections.
After completing 30 days in theatres with a robust Rs 164.15 crore across all languages, Sitaare Zameen Par witnessed a notable resurgence over its fifth weekend, despite stiff competition. On Day 31 (5th Sunday), the film added Rs 1.35 crore (Rs 1.33 crore in Hindi and Rs 1 lakh each in Tamil and Telugu), bringing its total collection to a commendable Rs 165.5 crore. The fact that it managed to post such a number on its fifth Sunday — while Saiyaara raked in Rs 37 crore on its opening Sunday — highlights the strong word-of-mouth and loyal family audience base Sitaare Zameen Par has cultivated.
The film, directed by
RS Prasanna
, explores learning disabilities in children through a fresh lens and marks
Aamir
Khan's return to emotional, socially-driven storytelling. While the opening was moderate at Rs 10.7 crore, the film quickly gained momentum, thanks to excellent weekend jumps — Rs 20.2 crore on Day 2 and Rs 27.25 crore on Day 3.
What's particularly remarkable is how the film sustained its momentum week after week. After closing its first week at Rs 88.9 crore, it collected Rs 46.5 crore in Week 2, Rs 18.95 crore in Week 3, and Rs 8.65 crore in Week 4.
In most cases, Week 5 would mark a significant dip, especially with a high-profile release like Saiyaara entering the fray. But Sitaare Zameen Par defied the odds.
On Day 30 (5th Saturday), the film had already shown signs of life with a Rs 80 lakh collection, a major jump of 128 % from Friday's collection of Rs 35 lakh. The Sunday surge further confirms that the emotional core of the film continues to resonate, especially with families and older audiences.
While Saiyaara has dominated youth attention with its fresh faces and romantic music-driven narrative, Sitaare Zameen Par remains a preferred pick for viewers looking for meaningful, feel-good cinema. In fact, the simultaneous success of both films showcases the diversity of content drawing crowds in 2025 — one led by a superstar addressing educational challenges, the other a musical romance by newcomers.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Hindustan Times
22 minutes ago
- Hindustan Times
Saiyaara box office collection day 6: Ahaan Panday-Aneet Padda film beats Ranbir's Tu Jhoothi Main Makkar, earns ₹150 cr
Saiyaara box office collection day 6: Saiyaara has caused a massive stir at the box office, defying industry expectations and breaking records within a week of its release. The film, led by newcomers Ahaan Panday and Aneet Padda, had a non-holiday release and still went on to cross the ₹100 crore mark in four days. As per Sacnilk, Saiyaara has now crossed the ₹150 crore mark. (Also read: 5 reasons why Mohit Suri's Saiyaara is ruling box office: Ahaan Panday-Aneet Padda film is not just 'cringe' Insta Reels) Saiyaara box office collection day 6: Aneet Padda and Ahaan Panday in a still from the film. Saiyaara box office update The latest update points out that Saiyaara earned ₹21 crore on its 6th day of release. Although the numbers show a slight dip in comparison to its previous weekdays, Saiyaara has managed to show extraordinary momentum in the middle of the week with no holidays to capitalise on. Saiyaara made a massive opening day haul of ₹153.35 crore. During the weekend, the film showed bumper growth amid significant buzz, collecting ₹35.75 crore on Sunday. On Monday, the film earned ₹24 crore and went on to show growth on Tuesday, with ₹25 crore. Taking today's numbers into account, Saiyaara has now added up to ₹149 crore in 6 days of release. Saiyaara has now surpassed the lifetime collection of Ranbir Kapoor and Shraddha Kapoor-starrer Tu Jhoothi Main Makkar, which was at ₹147.28 crore. It now looks set to beat the lifetime collections of Ranveer Singh and Alia Bhatt's Rocky Aur Rani Kii Prem Kahaani at ₹153.55 crore. About Saiyaara Saiyaara chronicles the love story that develops between an aspiring musician Krish Kapoor (Ahaan) and a shy journalist Vaani (Aneet Padda). She supports him to follow his dreams even as an unexpected revelation threatens to break them apart. The film received immense love from Bollywood stars as well as fans. From Alia Bhatt to Anil Kapoor, Shraddha Kapoor to Ranveer Singh, Ananya Panday to Varun Dhawan, several actors have praised the film and the performances of the two young stars.


Hindustan Times
22 minutes ago
- Hindustan Times
Review: Muslim Identity in Hindi Cinema by Mohammad Asim Siddiqui
The pervasive influence of new information and communication technology has transformed culture, literature, the fine arts, and other forms of entertainment into powerful transnational productions. Now, cinema serves as a reflective mirror to our rapidly evolving social landscape, illuminating and informing us about significant societal shifts. Ranveer Singh as Khilji in Padmavat. 'An unprecedented surge in structuring films on themes related to Muslim rulers reveals a sense of naivety on the part of the directors, who seem to believe that retelling the past or the imagined past settles the question of cultural identity.' (Film still) Films with their vivid characterisation, intriguing visuals, and gripping storylines transcend fantasies of desire and reveal what lies beneath the vicissitudes of life. Cinema appears to be the site of every twist in collective life, upending our settled understanding of lived experience. The postmodern era has given rise to transformational cinema, queer cinema, and politically charged films that lend a voice to subcultures, fostering a sense of empathy and inclusivity. 185pp, ₹3145; Routledge The widely admired portrayal of fervent nationalism has given rise to a new notion, 'cine patriotism,' which is essentially a stagnant concept. It resonates with Bollywood, which often constructs identity within a particular national and religious context. Identity is a slippery and multilayered concept, and when it pertains to those people who, in Franz Fanon's vivid phrase, are without any anchor, without horizon, and colourless, it becomes more complex. For Indian cinema, national identity can only be constructed if it is contrasted with a less-than-desirable, if not loathsome, other. It is the other's ghostly presence that goes well with the gullible audience. In cinematographic projection, the other is the Muslim, who is fictionalised and plays the assumed role. The narrative and visuals fix him in violence, hostility, and aggression. His story is constructed through fantasy, myth and falsification, which leaves him experiencing himself as the other. The portrayal is done through two vectors – cultural difference and social rupture. Negotiation of identity among Muslims remains a shifting motif, serving as a potential tool for othering by contemporary Hindi cinema. Right now, this is how our film industry treats the second-largest Muslim population in the world. How does the expropriation of cultural and religious identity hinder the understanding of a community? Indian cinema addresses this by focusing on a simplified and often distorted representation that fails to capture the complexity of identity. An unprecedented surge in structuring films on themes related to Muslim rulers reveals a sense of naivety on the part of the directors, who believe that retelling the past or the imagined past settles the question of cultural identity. Pran and Amitabh Bachchan in Zanjeer. 'The issue of the Muslim gangster is explored in the fourth chapter, which provides a close reading of Zanjeer (1973), Angaar (1992), and numerous other films.' (Film still) The diacritics of cinematic aporia call for an objective delineation and insightful analysis, and it is what Asim Siddiqui's recently published book, Muslim Identity in Hindi Cinema does with academic rigour. The author rightly considers cinema a site of hybridity, diversity, and splitting, where relations, assimilations, and syncretizations are negotiated and renegotiated. Hindi films also did this in the portrayal of Muslim identity over the last eight decades. Now, however, the situation has changed. This book attempts to analyse 'how the inclusive vision presented in films like Mughal-e Azam (1960) has been replaced by a Hindutva vision in many films using history as a backdrop where Muslims appear in the image of the other.' Comprising six terse and incisive chapters, the book provides a panoramic yet invigorating view of the representation of Muslims in new social settings and idioms. Siddiqui discovers, excavates and discusses the changing perception of Muslim identity from the historical films of the 1940s down to the recent movies that perpetuate stereotypical notions of Muslim identity. With critical acuity and social and cultural sensitivity, he unravels the representation of global Muslim identity in a post–9/11 world and emphasises the need for a more nuanced understanding. The first chapter, From History to Circus: Politics of Genre and Muslims' Representation in Hindi Films enumerates historical, political, social and cultural aspects of Muslim identity, and discusses issues relating to Partition, to Muslims into a secular nation, interreligious marriages, ever growing communalism, militancy in Kashmir, and the subjugation of Muslim women. The second chapter goes well beyond the paraphrasing of themes and cursory interpretation of visuals, costumes, lyrics, music, and sound effects. The author sensitively reads the films of Raja Kumar Hirani and Zoya Akhtar, where the predictable markers of identity hardly work. A dispassionate analysis is presented in the third chapter, which examines the portrayal of Hindu-Muslim hostility and violence in films. Author Mohammad Asim Siddiqui (Courtesy the subject) The issue of the Muslim gangster is explored in the fourth chapter, which provides a close reading of Zanjeer (1973), Angaar (1992), and numerous other films. The figure of the gangster has now been replaced with that of a terrorist and has produced the terrorist genre of Hindi films. The author takes pains in chewing over the globalisation of terror and the setting of terrorist films in Afghanistan, Turkey and London. The last chapter provides a panoramic view of the representation of Muslim women characters in Hindi cinema. 'Muslim women also appear in many interreligious romances where the man usually happens to be a Hindu and the girl a Muslim,' Siddiqui correctly points out, adding that the pattern 'guided by the demands of political correctness and market forces, reveals deep-rooted sexual anxiety about protecting and preserving women from defilement.' In sum, the book presents an insightful and multilayered analysis of the representational aspects of Hindi cinema. Shafey Kidwai, a bilingual critic, is the director of Sir Syed Academy, Aligarh Muslim University.


Time of India
39 minutes ago
- Time of India
Labubu dolls get a fashion makeover
It started as a quirky collectible, but Labubu has now taken over the hearts and social media feeds of fans across the world. These wide-eyed, slightly odd-looking dolls, created by artist Kasing Lung for his Nordic folklore-inspired series The Monsters, are no longer just toys. They've become tiny canvases for creativity. For many fans, owning a Labubu doll isn't enough. They go a step further, adding a personal touch to every detail. From dressing the dolls in miniature outfits to giving them manicures and personalised clothing stitched with their owner's surname, each Labubu is treated like a tiny, stylish companion. Adding a personal touch Hamsha Thavaseelan, a digital creator, recently took her Labubu to two Tamil weddings. For the occasion, she even customised a dress to give the doll a Tamilian look, complete with a bindi, flowers, and a tiny bag – all matching her outfit for the wedding. Similarly, artist Gurnoor Anand took her Labubu to a boutique to have custom clothes made. Meanwhile, on Instagram, digital creator Christine Doan gave her Labubu a full makeover, adding fluttery eyelashes, 3D nail art, a miniature handbag, and matching charms. Her doll looks every bit the influencer it was destined to be. Fans are investing not just money, but also time in their Labubus. On social media, one Labubu wears custom-made grills from a dentist, while another is seen diving underwater, clearly geared up for adventure. Some are even dressed in tiny Kanjeevaram saris – proving that fashion knows no size. Whether it's the joy of dressing them up or simply giving them a personality, Labubu dolls have become much more than just collectibles. AI TIPS TO MAKE YOUR LABUBU TRULY YOURS Custom-made outfits Design tiny, one-of-a-kind outfits using fabrics like denim, tulle, or even old accessories. Whether it's a streetwear look, fairy costume, or desi avatar, tailor Labubu's wardrobe to your style or mood. Mini accessories with big personality Add tiny sunglasses, hats, scarves, or miniature handbags. Even doll-sized jewellery or funky shoes can make Labubu look runway-ready and reflect your aesthetic. Themed dressing for seasons and festivals Dress Labubu according to seasons—think monsoon raincoats, summer florals, or winter knits—or deck them out for Diwali, Christmas, or even your birthday celebrations! Scented fabrics or perfumed closets Infuse Labubu's outfits or storage box with a soft, safe fragrance using sachets or scented drawer liners. It adds a sensory layer to the pampering experience. Tiny tattoos or face stickers Use washable markers, bindis, or nail art stickers to give Labubu little tattoos, freckles, or face art that can be changed depending on their 'mood.'