Dhurandhar nears Rs 10 billion globally, outgrosses Kantara and challenges Animal

Dhurandhar clearly didn’t get the memo about slowing down.

Three weeks in, Aditya Dhar’s Ranveer Singh–led spy actioner is still flexing at the box office, shrugging off weekday drops. Monday brought a near 50 per cent dip — but even then, the film clocked Rs 16 crore, pushing its domestic net total to Rs 571.75 crore, according to Sacnilk. Globally, it’s cruising toward the Rs 900 crore club, with that milestone expected any minute now.

What makes this run even better is that Dhurandhar didn’t exactly open to universal applause. The reviews were split, the debates loud — and the box office was completely unbothered. On Monday, December 22, the film flew past Rs 850 crore worldwide, becoming only the second Indian release of 2025 to do so. Then it went one better, overtaking Kantara: A Legend Chapter – 1 (Rs 852.31 crore) to officially crown itself the highest-grossing Indian film of the year.

And for Ranveer Singh, this is a career reset. Dhurandhar is now the highest-grossing film of his career, eclipsing all his previous box-office wins. The next target is already in sight: Animal. Sandeep Reddy Vanga’s Ranbir Kapoor–starrer wrapped its run at Rs 915 crore worldwide, and Dhurandhar is close enough to start making it nervous. A top-10 spot on the all-time list: Very much on the table.

The numbers back the bravado. On corresponding days, Dhurandhar is earning nearly double what Animal did. Day 17 tells the story clearly: Animal managed Rs 14.5 crore; Dhurandhar stormed in with Rs 38.5 crore.

It’s even outmuscling box-office legends like Dangal and Baahubali 2 at the same stage of their runs. The only slight speed bump: Overseas collections. While Dangal eventually amassed a staggering Rs 1,535.3 crore internationally and Baahubali 2 finished with Rs 371.16 crore, Dhurandhar is currently hovering at around Rs 186 crore abroad — solid, but not seismic.

Still, the film’s grip on domestic audiences remains firm. On Monday, Hindi occupancy averaged 27.26 per cent, starting at 16.81 per cent in the morning and steadily climbing to 36.66 per cent by evening, proving that audiences are still showing up — and showing out.