Two days into its release, Ramayana: Part One has crossed USD 10.15 million overseas and sits at roughly Rs 228.5 crore worldwide. The second-day international number of USD 4.75 million (Rs 45 crore) was materially stronger than the opening day, and the four-day extended weekend is now tracking near the Rs 500 crore mark.
The day-two trajectory is the more instructive signal. A strong Friday uptick across all overseas markets suggests momentum beyond an opening-day fan rush.
The split tells the story
India contributed about Rs 132 crore, which means overseas is roughly 42% of the worldwide total so far. For a Bollywood event title, that is a meaningful share, and it reflects a market condition the source flags clearly: unlike India, overseas markets have no pre-Diwali drag right now.
For media planners and distribution teams, that distinction changes where the upside is coming from. The film is collecting at its potential internationally, while India is still working around the festive calendar.
Where it stands against past openers
The source positions the film as the second-best Bollywood opener internationally, behind Dhurandhar: The Revenge, which likely had the strongest initial strength for an Indian film internationally. In like-for-like markets, Ramayana is running about 10 per cent behind Dhurandhar. The variance by territory is worth reading closely:
- Nepal and Southeast Asia: ahead of Dhurandhar
- UK and Europe: broadly level
- United States: down about 10%
- Australia and Canada: trailing by roughly 20–25%
Against Pathaan and Jawan, the film is ahead in all major markets except the Middle East, where it is underperforming. That single weak market is the gap between a good global result and a great one.
What to watch next
The current trajectory puts the extended weekend around the Rs 500 crore mark, with the overseas component likely to land near USD 22 million. These are trade estimates rather than certified figures, so the practical use is directional: the day-two uptick matters more than the headline total.
Entertainment marketers can take a simple frame from this number. Instead of treating overseas as one region, look at the like-for-like market splits. When a title over-indexes in Southeast Asia but trails in Australia, the next campaign should be allocated accordingly, not evenly.
Source: PINKVILLA
