‘Dhurandhar 2’ leads screens over Pawan-Kalyan’s ‘Ustaad Bhagat Singh’

In Telugu states, Dhurandhar 2 starring Ranveer Singh secured more screens than Ustaad Bhagat Singh starring Pawan Kalyan, highlighting pan-Indian appeal and shifting audience preferences beyond regional cinema

Hyderabad: In a surprising box office development in the Telugu States, Dhurandhar 2, starring Ranveer Singh, has reportedly secured a higher number of screens than Ustaad Bhagat Singh, headlined by Pawan Kalyan, on their release day.

The development has raised eyebrows across the industry, considering the massive fan base and box office pull that Pawan Kalyan commands in the Telugu-speaking regions. Trade circles describe the situation as unusual, particularly during a festival-like release window when local star-driven films typically dominate screen allocation.

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Dhurandhar 2 appears to be benefiting from the strong reception of its first instalment, coupled with aggressive distribution strategies. In Hyderabad, several multiplexes are said to have allotted a significant number of shows to the Hindi film, with some even running over a dozen screenings on opening day. This initial edge reflects the anticipation surrounding the sequel and the growing appeal of pan-Indian content.

However, box office analysts believe the trend may not hold for long. They point out that Ustaad Bhagat Singh could quickly bridge the gap if it receives positive word of mouth. “In the Telugu market, content ultimately dictates performance. If the film connects with audiences, it can comfortably match or even surpass its competitor within the first few days,” a trade expert noted.

The current scenario also underlines a broader shift in audience preferences. With the rise of OTT platforms, viewers are increasingly exposed to films across languages, breaking traditional regional barriers. As a result, content-driven cinema is gaining acceptance beyond linguistic boundaries.

The opening day screen dominance of Dhurandhar 2 over Ustaad Bhagat Singh is being seen as a reflection of this evolving landscape, where language is no longer a limiting factor for cinematic success.