Dhurandhar, the film that crossed ₹3,000 crore in India, premiered in Japan on July 10 across 57 theatres. While its spy‑driven storyline, high‑octane visuals, and chart‑topping songs generated buzz, the Japanese audience response was far from enthusiastic.

Opening Day Reality in Japan

According to Japan’s trade portal Mimorin, the film’s first‑day collection was as weak as Alia’s Pushpa 2. It failed to secure a spot in the Top‑25 box‑office ranking on its debut day. By 2 PM, only 449 viewers had entered the theatres, and the momentum stalled in the latter half of the day.

Comparison with Earlier Indian Releases

Pushpa 2 also struggled when released in Japan, drawing merely 886 viewers across 68 screens on its opening day. Neither film made it to the Top‑10 list of Indian movies by opening footfall, and both lagged behind Ranveer Kapoor’s Brahmastra (1,010 footfalls). This pattern suggests limited appeal of Indian mega‑productions among Japanese cinephiles, who often favor local and Asian titles.

Future Prospects and Strategic Lessons

The lackluster performance urges Indian producers to rethink their overseas rollout. Enhanced localisation—through dubbing, cultural tweaks, and targeted promotions—could bridge the gap. Understanding Japanese genre preferences, such as anime‑style action or horror, may inform narrative and marketing adjustments.

In sum, Dhurandhar’s disappointing Japanese debut serves as a cautionary tale: global success demands more than domestic box‑office fireworks; it requires a nuanced grasp of each foreign market’s tastes and consumption habits.