Updated on: Aug 02, 2025 10:29 pm IST
Dhadak 2 box office collection day 2: Siddhant Chaturvedi and Triptii Dimri’s romantic sage is facing stiff competition from Son of Sardaar 2.
Dhadak 2 box office collection day 2: Shazia Iqbal’s directorial debut starring Siddhant Chaturvedi and Triptii Dimri released in theatres on August 1 after facing multiple delays. After having a slow start at the box office, has Dhadak 2 managed to show growth on its second day of release? As per the latest update on Sacnilk, the film is yet to cross the ₹10 crore mark.
Dhadak 2 box office update
The report states that Dhadak 2 has collected ₹3.75 crore on its second day of release. On Friday, the film made an opening day haul of ₹3.5 crore. The total collection of the film now stands at ₹7.25 crore.
Dhadak 2 is facing stiff competition at the box office from another new release (and sequel)- Ajay Devgn’s Son of Sardaar 2. The comedy saga made twice as more than Dhadak 2 on its second day with ₹7.5 crore, as per Sacnilk. Son of Sardaar 2’s overall collection now stands at ₹14.5 crore.
Meanwhile, Saiyaara, now in its third week, is still going strong. The film is set to cross the ₹300 crore mark by Sunday. Elsewhere, animated film Mahavtar Narasimha is also performing exceedingly well in its second week.
About Dhadak 2
Dhadak 2 chronicles the turbulent love story of Nilesh (Siddhant), a Dalit law student who falls in love with his classmate Vidhi (Triptii), who hails from an upper-caste household. They have to fight casteism and classism in order to make their relationship survive. The film received positive reviews upon release, with many praising the hard-hitting direction and mature performances of the cast. It is an adaptation of Periyarum Perumal.
Filmmaker Anurag Kashyap lauded the film and said, “The film captures the conversation that we avoid on a day-to-day basis. This is what mainstream cinema was meant to be, and this is what great filmmakers like Raj Kapoor, Bimal Roy, Guru Dutt, K A Abbas, B R Chopra, Yash Chopra, and so many used to do. We forgot to make mainstream films of social relevance. They got relegated to independent art house cinema. This is what Tamizh cinema and so much of cinema from south still does.”
