Nani’s The Paradise used its second Saturday to rebuild momentum at the domestic box office. The Telugu film added Rs 4.56 crore net in India on day 10, a 62.9% jump over Friday’s Rs 2.80 crore, pushing its worldwide gross past Rs 167.39 crore.
Second Saturday lifts the total
The day-10 India net of Rs 4.56 crore took the film’s cumulative India net to Rs 115.56 crore. With India gross at Rs 136.44 crore and overseas earnings at Rs 30.95 crore, the worldwide gross now stands at Rs 167.39 crore. The film recorded 1,573 shows on Saturday, up from 1,547 on Friday, and logged 327,190 footfalls.
The occupancy signal is less straightforward. Day 10 reported occupancy of 24.3% came in below day 9’s 32.8%, even though collections rose. The show count expanded, so the available-seat denominator grew. That is a practical reminder that occupancy is a utilisation metric, not a revenue metric.
Key day-10 numbers
- India net: Rs 4.56 crore, up 62.9% from Rs 2.80 crore
- Worldwide gross: Rs 167.39 crore
- India net total: Rs 115.56 crore
- Telugu share: Rs 4.45 crore net from 1,425 shows; Hindi added Rs 11 lakhs
- Strongest session: night shows at 26.60% occupancy
Don’t Trouble The Trouble builds on day two
Fahadh Faasil’s Telugu release Don’t Trouble The Trouble also moved upward on Saturday. It collected Rs 2.05 crore net in India on day 2, a 24.2% rise over its Rs 1.65 crore opening day. The India net total is now Rs 3.70 crore, with India gross at Rs 4.30 crore.
The film added 145,805 footfalls on Saturday, taking its two-day total to 275,702. Telugu screenings accounted for Rs 1.91 crore net from 826 shows, while Malayalam added Rs 11 lakhs and Tamil added Rs 3 lakhs. For its Telugu 2D version, night shows again led with 24.38% occupancy.
What the splits mean for the trade
The Paradise is functioning like a Telugu theatrical play rather than a broad pan-India release. On day 10, the Telugu version contributed almost the entire India net collection, while Hindi brought only Rs 11 lakhs from 143 shows. For media planners and distributors, that argues for allocating show inventory and marketing spend against where the audience already is, instead of treating the film’s reach as uniform.
Night shows were the highest-occupancy session for both films. If that pattern holds, late-day showtimes are the most productive place for additional screens, pricing experiments and theatre-level promotions. The cautious move is to let session data guide capacity before paying for wider reach.
Source: The Times of India
