For some time, the view has been gaining ground that Bollywood is shorn of ideas. The real issue, though, is less about a lack of ideas and more about where the money goes. The blockbuster machinery gravitates towards the safe and the familiar. Original voices do exist, they are just often pushed to the margins. So, to reiterate, Bollywood isn’t short of ideas, it is that the commercial centre often prefers not to take the risk of using them.
Dhurandhar went on to become a box-office blockbuster. It resonated strongly with audiences for several underlying reasons.
The first was the stellar performances. Akshaye Khanna stood out as Rehman Dakait, delivering a commanding performance marked by anger, smugness and quiet brutality. Ranveer Singh was equally impressive, particularly during the 26/11 sequence, where his portrayal was restrained and genuinely affecting.
The film also had a gripping story and a smart structure. It is divided into eight chapters, each hinting at what lies ahead. For a film with a long runtime, this approach works well, breaking the narrative into digestible segments while keeping the audience engaged without fatigue.
The first film offers a fresh take on the spy genre. It fictionalises recent events to fit a nationalist narrative, uses intelligently remixed music and brings together an unusual ensemble cast. The result is a cinematic phenomenon that became fodder for social media memes and coffee table conversations, both national and international.
With a growing perception that there is unmet audience demand for quality, Dhurandhar showed that audiences are more evolved than often assumed. They are open to complex narratives, longer formats and unconventional themes, as long as the storytelling is immersive.
The film grossed over ₹1,350 crore worldwide, making it an all-time blockbuster. It also performed strongly on streaming after its release on Netflix in January 2026. It topped global non-English charts with 7.6 million views, taking the number one spot in both India and Pakistan. This is notable given that Indian films have been banned from Pakistani cinemas for years.
The success of Dhurandhar led to a sequel, Dhurandhar: The Revenge, released in March 2026. The sequel has gone on to become an even bigger success, in cinematic terms, a megahit.
It recorded the second biggest global opening ever for an Indian title, earning $8.1 million in its first five days, the biggest opening for a Hindi-language film. The film crossed ₹1,000 crore worldwide within its first weekend, making director Aditya Dhar the second Indian director after S. S. Rajamouli to deliver two consecutive ₹1,000 crore films. It has since crossed ₹1,500 crore worldwide in just 16 days, the fastest any Indian film has reached that milestone, joining the ranks of Dangal, Baahubali and Pushpa.
Another factor behind its success may be its multi-language release. It was released on 19 March, coinciding with Gudi Padwa, Ugadi and Eid, and was available in Hindi, Telugu, Tamil, Malayalam and Kannada following strong fan demand.
The dialogue “Mera Baccha Hai Tu” gained enormous popularity on social media, becoming widely used in memes and short-form video content. The sequel has surpassed the original across most metrics and is currently the fourth highest-grossing Indian film of all time, and still running.
That said, the films raise a nuanced question around creative liberties. Critics and commentators have noted that the films blend fictional elements with real historical events. Some have even described them as propagandistic.
The film begins with a disclaimer stating that it is fiction, while also saying it is inspired by real events. This creates a degree of ambiguity. By fictionalising recent events to fit a nationalist perspective, Aditya Dhar has created a cinematic product that has sparked widespread debate about the nature of propaganda. One critic argued that despite dealing with sensitive themes such as terrorism and war, the film prioritises spectacle, at times romanticising aggression and machismo without examining the psychological consequences.
Opinions vary. The film is best viewed as a spy thriller inspired by real events, not a documentary. It reflects a particular perspective on regional geopolitics, and audiences from different backgrounds may interpret it differently.
What these two films have done is break a mould. They emphasise substance over star power. In recent years, audiences had grown weary of formula-driven cinema, repetitive narratives, exaggerated patriotism and forced humour. Dhurandhar marks a shift by delivering on its ambitions.
It also features a heavy ensemble cast, with multiple characters carrying equal narrative weight. Yet at no point does the film feel dominated by star power. No single performance overshadows the story, which is rare in Bollywood.
The film invites comparison with spy thrillers such as Bourne and Kingsman. In this genre, the protagonist must serve as the audience’s emotional anchor, and Dhurandhar achieves this from the outset. Recent spy films have often relied on spectacle over storytelling, but this film respects the audience’s intelligence.
The promotions for the first instalment were deliberately low-key, almost as if Aditya Dhar intended to lower expectations and let the film speak for itself. Neither the film nor its stars appeared to take success for granted.
Among the cast, Akshaye Khanna was widely seen as the standout performer. Ranveer Singh was equally strong, with many calling it a career-best performance. Rakesh Bedi emerged as a surprise, while R. Madhavan and Sanjay Dutt were consistently praised. Khanna and Singh, however, remained the twin pillars across both films.
At its core, the team approached filmmaking as a craft rather than a formula. That, more than anything, explains why the Dhurandhar duology stands out.
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