Every Thursday before a major Bollywood release, the conversation is the same. How many views did the songs cross? Is the album a hit? Did the title track trend? The trade treats streaming numbers as a proxy for opening weekend potential. It is not entirely wrong. But it is not entirely right either.
The relationship between a song's streaming performance and a film's box office fate is real β but the causality runs in both directions. A massive film can create a massive song just as easily as a massive song can create a massive opening. Srivalli was good before Pushpa: The Rise released. It was legendary after. The difference was the film, not the song.
After mapping the 20 biggest Indian film songs of 2021β2026 across Spotify, YouTube, Apple Music and Amazon Music against their films' theatrical fates, we arrived at three classifications the trade has never cleanly stated.
π
Driver
The song functions as primary marketing in the 10β15 day gap between trailer and release. Streaming velocity in this window is a real-time demand signal. The song creates audience intent to watch the film. Streaming listeners become ticket buyers.
β‘
Multiplier
The film works first β then the song explodes. Music amplifies repeat viewing, drives social content creation, extends the film's cultural life post-release. The box office success unlocked the song's potential. The film made the music.
"Above a certain threshold of event-film anticipation, the trailer does the Driver's job β and music becomes optional. Below that threshold, it is non-negotiable."
Boxoffy Framework Β· March 2026
The Top 20 β Ranked by Streaming Impact vs Box Office
#01
Srivalli
Pushpa: The Rise Β· 2021
DSP Β· Sid Sriram / Javed Ali
Driver
Blockbuster
βΆ1.3B+ YouTube
βBillboard #1 Β· 9 wks
βΉβΉ350 Cr India BO
The cleanest Driver in this list. Released weeks before the film, it introduced Allu Arjun to the Hindi mass market independently. The hook-step was #1 on Billboard India by February 2022 β weeks before the Hindi theatrical explosion. The song created the audience. The film confirmed it.
Without Srivalli, Pushpa: The Rise does not crack βΉ100 Cr Hindi. The song was the trailer before the trailer.
#02
Kesariya
Brahmastra Β· 2022
Pritam Β· Arijit Singh
Driver
Average
βΆ500M+ Spotify
βFirst Indian song 500M
βΉβΉ268 Cr India Nett
The most important data point in this analysis. First Indian song to cross 500M Spotify streams. Released 54 days before the film β the longest Phase 1 window here. And yet Brahmastra got an Average verdict. The song was bigger than the film. The definitive proof the Driver has a ceiling.
The Driver's ceiling, demonstrated with brutal clarity. Added βΉ40β60 Cr to opening weekend. Could not save Week 2.
#03
Natu Natu
RRR Β· 2022
M.M. Keeravani Β· Rahul Sipligunj / Kaala Bhairava
Multiplier
Blockbuster
βΆ1B+ YouTube
βOscar Best Original Song
βΉβΉ773 Cr India Nett
The Multiplier that kept multiplying β across years. RRR's theatrical run created the song's first wave. The Oscar created a second. M.M. Keeravani wrote a song for one scene β a comedic rain-soaked dance-off between Jr. NTR and Ram Charan. The film made it immortal. Then the Academy made it historic.
The rarest kind β the one that outlives the film by years. Zero Driver element. Pure Multiplier.
#04
Jhoome Jo Pathaan
Pathaan Β· 2023
Vishal-Shekhar Β· Arijit Singh
Driver
Blockbuster
βΆ#1 YouTube India
β34-day pre-release
βΉβΉ543 Cr India Nett
At this scale of star power and audience hunger, songs stop being marketing tools β they become confirmation rituals. The cultural event was already happening. The music just gave people something to play while they counted down the days. Driver in supporting role.
SRK's return was the actual Driver. The song extended the conversation.
#05
Arjan Vailly
Animal Β· 2023
Thaman S Β· Bhupinder Babbal
Multiplier
Blockbuster
βΆ700M+ YouTube
βPost-release explosion
βΉβΉ554 Cr India Nett
Nobody was talking about Arjan Vailly before Animal opened. By Saturday morning of opening weekend, gyms across India were blasting it before 8am. That explosion happened because Animal worked, not before. The film created the song's moment.
Zero Driver contribution to opening weekend. Pure Multiplier. The film made the song β and the song repaid the film in cultural longevity.
#06
Pushpa Pushpa
Pushpa 2: The Rule Β· 2024
DSP Β· Nakash Aziz
Driver + Multiplier
All-Time Blockbuster
βΆ600M+ YouTube
ββΉ294 Cr India Day 1
βΉβΉ1,753 Cr India Nett
The only true Driver + Multiplier in this list. Pre-release: reinforced Allu Arjun's mass presence built by Srivalli. Post-release: as Pushpa 2 became the biggest Indian film ever, the song became an equally massive Multiplier through January 2025. At this level, music and film become indistinguishable.
The only song that earned both classifications. Srivalli built the Hindi market. Pushpa Pushpa harvested it.
#07
Chaleya
Jawan Β· 2023
Anirudh Ravichander Β· Arijit Singh / Shilpa Rao
Driver
Blockbuster
βΆ500M+ YouTube
βAnirudh BGM real asset
βΉβΉ640 Cr India Nett
Chaleya confirmed Jawan's mass-market credentials. But Anirudh's most important work wasn't Chaleya β it was the background score inside the cinema. The BGM made Jawan feel like a mass entertainer Bollywood hadn't produced in years. Chaleya opened the door. The BGM kept people walking through it.
The Anirudh paradox: his most powerful box office asset is invisible to Spotify. The BGM outperformed the single as a theatrical asset.
#08
Aaj Ki Raat
Stree 2 Β· 2024
Sachin-Jigar Β· Madhuri Dixit / Divya Kumar
Multiplier
Blockbuster
βΆ800M+ YouTube
β3 consecutive weeks #1
βΉβΉ620 Cr India Nett
A genuinely lovely Sachin-Jigar composition became a phenomenon because Stree 2 gave it permission to be one. Without Madhuri Dixit's cameo becoming the most-talked-about moment of opening weekend, Aaj Ki Raat stays a good item track. The film created the cultural moment. The song occupied it.
Zero Driver value. Extraordinary Multiplier. The film created the cultural moment. The song occupied it.
#09
Ve Kamleya
Rocky Aur Rani Kii Prem Kahaani Β· 2023
Pritam Β· Arijit Singh / Shreya Ghoshal
Driver
Average
βΆ400M+ YouTube
βPritam+Arijit+Shreya trio
βΉβΉ128 Cr India Nett
The second Kesariya warning. Pritam-Arijit-Shreya is a streaming guarantee. Rocky Aur Rani still got an Average verdict. The Driver drew a specific audience β romantic, urban, streaming-native. But the people who loved Ve Kamleya on Spotify weren't the same people who needed to turn up in numbers.
The Driver's second limitation: it can bring audiences in, it cannot keep them if the film disappoints.
#10
Oo Antava
Pushpa: The Rise Β· 2021
DSP Β· Anurag Kulkarni / Samantha
Multiplier
Blockbuster
βΆ800M+ YouTube
βSamantha cameo item number
βΉβΉ350 Cr India BO
Oo Antava is a standalone item number dropped into Pushpa with zero narrative connection. Samantha's cameo became a meme, a trending topic, and a viral moment. The Pushpa phenomenon made Oo Antava a cultural event. Without the film's success, it would have been remembered as a fun item song.
Isolated from the film's world. Pure Multiplier. DSP's genius: integrated scores and viral standalone numbers for the same film.
#11
Besharam Rang
Pathaan Β· 2023
Vishal-Shekhar Β· Caralisa Monteiro
Driver
Blockbuster
βΆ300M+ YouTube
βControversy drove eyeballs
βΉβΉ543 Cr India Nett
Honestly, the most unusual Driver in this entire list. Besharam Rang trended for weeks before release because of the controversy. People who had zero intention of watching a Shah Rukh Khan spy film were suddenly debating it at dinner tables. That attention converted into curiosity, which converted into ticket buyers.
A Driver that weaponised controversy. The debate about the song did more Phase 1 marketing work than any other element.
#12
Saiyaara
Saiyaara Β· 2025
Vishal Mishra Β· Mohit Chauhan / Shreya Ghoshal
Driver
Hit
βΆ#1 Spotify India 2025
β#1 YouTube India 2025
βΉDebutant cast Β· No stars
The most important case for independent Bollywood. A debutant cast. Zero franchise equity. Zero established star power. Still #1 on both Spotify and YouTube India for the full year 2025. Music replaced stardom. If the song is extraordinary enough, it can replace the function of stardom in the Phase 1 window.
The most important data point for mid-budget filmmakers. Music can replace stardom β but the song must be extraordinary, not merely good.
#13
Tere Vaaste
Zara Hatke Zara Bachke Β· 2023
Sachin-Jigar Β· Varun Jain
Driver
Hit
βΆ200M+ YouTube
βSmall film, no star power
βΉβΉ113 Cr India Nett
Tere Vaaste proved what Saiyaara would prove again two years later: a genuinely affecting romantic song can do the full marketing job for a film that doesn't have the muscle of a big production house. Without Tere Vaaste, this is a film that probably opens to βΉ8 crore and quietly disappears.
Driver doing the marketing department's entire job. For films without event-film scale, this is the template.
#14
Arabic Kuthu
Beast Β· 2022
Anirudh Ravichander Β· Vijay
Driver
Disaster
βΆ400M+ YouTube
β#1 in 17 countries
βΉβΉ150 Cr India Gross
This is where the entire framework hits a wall. Arabic Kuthu trended #1 in 17 countries. Vijay. Anirudh. A globally viral song. And Beast still bombed. If you're looking for the single clearest proof that music cannot save a bad film, you've found it. The Driver doesn't just have a ceiling. Sometimes the ceiling is at floor level.
17-country trending. Still flopped. The Driver has limits.
#15
O Maahi
Dunki Β· 2023
Pritam Β· Arijit Singh
Driver
Flop
βΆ250M+ YouTube
βSRK + Pritam + Arijit
βΉβΉ226 Cr India Nett
O Maahi had every Driver advantage: Shah Rukh Khan at peak momentum, Pritam composing, Arijit singing. The Driver worked exactly as intended. The film simply couldn't meet the expectation the song had built. Rajkumar Hirani's slowest-paced film couldn't match the cultural energy Pathaan had built ten months earlier.
The Driver delivered. The film didn't follow. SRK's brand carried the song further than the film deserved.
#16
Raanjhan
Do Patti Β· 2025
Sachin-Jigar Β· Jubin Nautiyal / Asees Kaur
Driver
Hit
βΆTop 5 Spotify India 2025
β#1 YouTube year-end 2025
βΉβΉ89 Cr India Nett
Raanjhan was one of only two songs that appeared on Spotify, Apple Music, and YouTube India's annual 2025 wrap-ups simultaneously. For a mid-budget thriller with no established male lead, that cross-platform dominance is extraordinary. The song turned a quiet thriller into a conversation starter that drew audiences.
Cross-platform Driver β one of only two songs to top all three annual charts in 2025.
#17
Ishq Jalakar β Karvaan
Dhurandhar Β· 2025
Shashwat Sachdev Β· Shahzad Ali / Armaan Khan
Driver
Blockbuster
βΆSpotify Global Top 200
βDropped early on public demand
βΉβΉ840 Cr India Nett
A qawwali remake of the 1960 classic "Na To Karvan Ki Talash Hai" (Mohammed Rafi), Ishq Jalakar became the emotional spine of Dhurandhar's pre-release campaign. Demand for its standalone release was so high it dropped ahead of schedule. The entire Dhurandhar soundtrack became the first Bollywood album to have every track chart simultaneously within the Spotify Global Top 200.
Driver that built anticipation weeks before release. The qawwali format gave it cultural weight that outlasted the theatrical run.
#18
FA9LA
Dhurandhar Β· 2025
Flipperachi Β· Flipperachi (Bahraini)
Multiplier
Blockbuster
βΆ#1 Apple Music India
βSpotify Viral 50 India #1
βΉβΉ840 Cr India Nett
FA9LA is a Bahraini trap track by Flipperachi β completely alien to Bollywood's musical vocabulary β deployed for Akshaye Khanna's entry as bandit Rehman Dakait. The song had zero pre-release identity. The film's moment created the context, and the track exploded because of it. Aditya Dhar's most audacious musical decision.
Pure Multiplier. The scene made the song. Without Akshaye Khanna's entry, FA9LA remains a Bahraini track nobody in India had heard of.
#19
Aari Aari
Dhurandhar: The Revenge Β· 2026
Shashwat Sachdev Β· Bombay Rockers / Jasmine Sandlas
Driver
All-Time Blockbuster
βΆ28M+ YouTube pre-release
βTitle track Β· Opening number
βΉβΉ867 Cr India Nett
A reimagining of Bombay Rockers' 2003 Punjabi-pop hit, Aari Aari is the title track and opening number of Dhurandhar 2. It clocked 28 million YouTube views before the film's release. Sachdev's strategy: revive songs with cultural memory, deploy them as anticipation engines. Audiences walk in primed before a single frame hits the screen.
28M views pre-release. Established D2's sonic world before the film opened.
#20
Phir Se
Dhurandhar: The Revenge Β· 2026
Shashwat Sachdev Β· Arijit Singh
Multiplier
All-Time Blockbuster
βΆMost streamed D2 track
βPost-release streaming build
βΉWW ~βΉ1,392 Cr
Described universally as the best song in the Dhurandhar 2 album, Phir Se is the film's emotional closer β Arijit Singh, Irshad Kamil's lyrics, and Sachdev's understated production working in rare alignment. Saved deliberately for the end. Streaming numbers grew post-release as audiences came back to the song after feeling the weight of the final act.
The D2 song that outlasts the theatrical run. Arijit + Sachdev + Kamil. A mnemonic for an entire four-hour cinematic experience.
πΌ Shashwat Sachdev β The Dhurandhar Philosophy
Songs that blend vs. songs that are parachuted in
The Dhurandhar franchise represents a distinct approach: every song in both albums was designed to feel inseparable from the film's world. FA9LA was woven around Akshaye Khanna's entry as a bandit β you cannot imagine the scene without the song. Aari Aari opens Dhurandhar 2 and sets its entire sonic register. Phir Se closes it emotionally. Contrast this with isolated hits β Oo Antava in Pushpa (brilliant item number, zero narrative connection), Arabic Kuthu in Beast (globally viral, alien to the film's tone). The difference isn't whether the song is good. It's whether removing it damages the film.
Dhurandhar Β· 2025
Run Down The City β Monica
Bike Chase Sequence
Sachdev's reimagining of R.D. Burman's Piya Tu Ab To Aja (Caravan, 1971) β layered with Reble's rap. The song doesn't play over the action. It becomes the action's heartbeat. Remove it and you have competent choreography. With it, you have a sequence audiences remember weeks later.
Dhurandhar 2 Β· 2026
Aari Aari
Opening Action Block
Sachdev opens Dhurandhar 2 with Aari Aari and deploys it as the sonic identity of the film's first major action sequence. Audiences walk in primed β 28M views pre-release meant the melody was already in their memory before the first frame. The Peak-End Rule applied in reverse: score the beginning with recognisable emotional currency.
Images: TMDB Β· Β© Jio Studios & B62 Studios
The Science β Why Integrated Music Changes How a Film Is Remembered
The trade talks about music in terms of streaming numbers and trending charts. Science talks about it in terms of neurology, memory formation, and emotional retention. These two conversations have almost never met inside a Bollywood analysis β which is strange, because the science explains things the box office data can only hint at. Why do some films feel like they lasted three hours when they ran for four? Why do certain scenes live in your head for years? The answers are in the research.
Research Finding 01 β Attentional Neuroscience
Background music measurably increases audience attention β at the neurological level
A 2022 study published in Frontiers in Psychology measured EEG brain responses (alpha-rhythm suppression and P300 event-related potentials) in participants watching action film segments β with background music present vs. absent. The finding was unambiguous: attention levels were significantly higher when background music was present. This wasn't self-reported preference. It was measurable neurological engagement, captured at the level of brain activity. The implication for long-runtime cinema is direct: a 4-hour film without consistent musical engagement is asking the brain to sustain attention without one of its primary engagement mechanisms.
Source: Frontiers in Psychology, 2022 β "The impact of background music on film audience's attentional processes: EEG alpha-rhythm and event-related potential analyses"
Research Finding 02 β The Leitmotif Effect
Recurring musical themes create conditioned emotional responses β and compress time
The leitmotif β a recurring musical theme associated with a character, emotion, or concept β has been studied empirically by film music psychologists since Wagner first codified the technique in 19th-century opera. Research by Tan, Spackman and Wakefield (2017) confirmed that repeated exposure to a leitmotif enhances viewers' emotional engagement and recall of specific scenes and characters. The mechanism is a conditioned response: the music alone eventually triggers the associated emotional memory, without requiring the visual stimulus. In a 4-hour film like Dhurandhar 2, this means that when Ranveer Singh's character theme returns in the third act, it doesn't just score that scene β it collapses the preceding three hours of his arc into a single emotional recognition. The audience feels the weight of the entire journey in the time it takes for the motif to establish itself. This is why integrated scores create a sense of earned emotional payoff that standalone songs cannot replicate.
Source: Tan, Spackman & Wakefield, 2017 β Film music psychology research on leitmotif and emotional recall Β· Wagner's original framework: "Leitmotivs are a time-weave, an integrating of past and present" (Pierre Boulez on Wagner)
Research Finding 03 β The Peak-End Rule (Kahneman, 1993)
We don't remember the whole film. We remember the peak emotional moment and the ending.
Daniel Kahneman's foundational 1993 research (confirmed extensively since) established that humans evaluate an experience not by averaging its emotional content over time, but by weighting the single most intense emotional moment (the peak) and the final moments (the end). Kahneman measured this across diverse experiences β from watching film clips to medical procedures β and found it consistent. For cinema, this means a 4-hour film is remembered as a far shorter emotional arc. The composer who scores the film's climactic peak and the final scene with the greatest precision is effectively determining how the entire film will be remembered. This is the strategic logic behind Shashwat Sachdev's decision to save the most emotionally resonant musical moments for the third act and close both Dhurandhar films with full-orchestral swells. Phir Se β Arijit Singh's closing track in Dhurandhar 2 β is a direct application of Peak-End theory. Audiences who left the cinema with that song in their ears carried the emotional summary of the film's ending with them. The song on streaming became a trigger for the film's memory. This is what turns a Multiplier into something rarer: a mnemonic device for an entire cinematic experience.
Source: Fredrickson & Kahneman, 1993 β "Duration neglect in retrospective evaluations of affective episodes" Β· Confirmed by multiple replications including Frontiers in Psychology, 2019 β "From Experience to Memory: On the Robustness of the Peak-and-End Rule"
Research Finding 04 β Emotional Congruence & Empathy
Music that matches scene emotion increases visual recall β and empathy for characters
Multiple studies have found that viewers recall significantly more visual information when exposed to emotionally congruent background music (Proverbio et al., 2015; Nguyen & Grahn, 2017). More strikingly, research from neuroarts.org (McMaster University) found that background music that enhances emotional congruence with a scene increases viewers' empathic engagement with characters β and increases the cathartic power of the narrative. This is the scientific explanation for a feeling Indian cinema audiences know intuitively: the scenes we cry at during a Bollywood film are almost always the scenes the composer has scored most carefully. The music doesn't accompany the emotion β it creates the conditions for the emotion to arrive. Conversely, Spackman's research found that adjusting whether music feels like it comes from within the film's world versus outside it significantly altered viewers' interpretations of character relationships and romantic intent. The diegetic-or-not distinction, which Indian filmmakers rarely discuss explicitly, turns out to have measurable cognitive consequences for how audiences understand what they are watching.
Source: Proverbio et al., 2015; Nguyen & Grahn, 2017 β Visual recall under music conditions Β· McMaster University / NeuroArts, 2021 β "Music Enhances Empathic Engagement with Film Characters" Β· Spackman, 2008 β "Source of film music (diegetic or non-diegetic) affects viewer's interpretation"
Applied to Indian Cinema
The 4-Hour Problem β and Why Shashwat Sachdev Solved It
The average Hollywood blockbuster runs 130 minutes. The average Bollywood release runs 150 minutes. Dhurandhar 2 runs approximately 230 minutes β nearly four hours. Cognitive science research on sustained attention suggests that unassisted attention begins to degrade meaningfully after 90 minutes of continuous engagement. This is not a weakness of the audience. It is a structural fact of human neurology.
For a 4-hour film to hold an audience without a break β and then generate repeat viewings β the film must manage attention architecturally. Sachdev's approach to the Dhurandhar films, informed by his background in both Hindustani classical training and Western classical composition, does precisely this. The BGM functions as a series of emotional chapter markers: recurring character themes that announce shifts in narrative register, tempo variations that regulate physiological arousal, and musical silences that signal to the audience that the scene does not need emotional instruction from the score. Each of these is a technique with a scientific basis in attentional psychology.
~230 min
Dhurandhar 2 runtime β nearly 100 minutes longer than a standard Bollywood release
~90 min
Point at which unassisted attention begins degrading β the music takes over from here
1st Indian
Dhurandhar 1 album: first Bollywood soundtrack to have every track chart simultaneously in Spotify Global Top 200
"We don't remember a four-hour film as four hours. We remember the peak and the ending. The composer who scores those two moments with precision determines how the entire film will be remembered."
Derived from Kahneman & Fredrickson's Peak-End Rule, 1993 β applied to long-runtime cinema
π² Ready to Share β X Β· TikTok Β· Instagram
Spotify
YouTube
Kesariya: 500M Spotify streams. Brahmastra: Average verdict. The song was bigger than the film. That's the Driver's ceiling β the most important data point in Indian film music in five years.
#Kesariya #Brahmastra #Bollywood #BoxOffice β boxoffy.com
YouTube
Srivalli was already #1 on Billboard India before the Pushpa Hindi version blew up. The song introduced Allu Arjun to 500 million new listeners. Without Srivalli, there is no Pushpa phenomenon. That's what a real Driver looks like.
#Srivalli #AlluArjun #Pushpa #DSP β boxoffy.com
YouTube
Arabic Kuthu trended #1 in 17 countries. Beast still bombed. If a globally viral Vijay + Anirudh song couldn't save a bad film β nothing can. The Driver has limits. The film is the limit.
#ArabicKuthu #Beast #Anirudh #BoxOffice β boxoffy.com
Spotify
YouTube
Dhurandhar 2 opened to βΉ102 crore Day 1. No viral song. No Spotify record. Just Shashwat Sachdev's BGM building a sonic world inside the cinema. Above a certain scale, music becomes architecture β not marketing.
#Dhurandhar2 #ShashwatSachdev #Bollywood β boxoffy.com
Spotify
YouTube
Saiyaara had no stars. Just the song. #1 Spotify India. #1 YouTube India. Music replaced stardom. For every independent filmmaker β this is the most important box office story of 2025.
#Saiyaara #Bollywood #IndieFilm #Music β boxoffy.com
What the Data Says
12
Songs classified as Drivers. 8 of those 12 films were Hits or Blockbusters. The Driver works β but cannot save a film that audiences reject.
6
Multiplier songs β every one from a Blockbuster film. A film must succeed for music to multiply it. No exceptions in this list.
2
Films without a single viral song β Dhurandhar 1 (βΉ840 Cr) and D2 (βΉ841 Cr). The album as a whole did the work. Shashwat Sachdev's approach: no singles strategy, pure immersion.
Boxoffy Closing Take
The film always wins. But the right music
decides how it is remembered.
Twenty songs. Five years. Two classifications. And one truth the trade keeps dancing around β music is not a substitute for a good film. It never was. Kesariya was a masterpiece of a song. Brahmastra was not a masterpiece of a film. Arjan Vailly is a song that will be blasting in gyms in 2035. It didn't sell a single ticket on Day 1.
But here is what this list also shows β and this part tends to get lost in the conversation. The films that lasted longest in cultural memory are almost all films where the music and the story were telling the same thing at the same time. Srivalli didn't just promote Pushpa. It was Pushpa, before Pushpa existed for most of its eventual audience. Natu Natu didn't just play over a dance sequence β it captured the entire emotional register of a film about two men who were briefly, impossibly, beautifully free. Phir Se isn't just Arijit Singh singing prettily over the credits. It's the feeling of watching Ranveer Singh's Hamza at the end of a four-hour journey and not quite being ready for it to be over.
That is what Shashwat Sachdev has understood β quietly, without press releases or interviews about his compositional philosophy β that the rest of the industry is still catching up to. Songs that stream well are good for release week. Songs that are inseparable from their films are good forever. The Dhurandhar franchise has no Srivalli. It doesn't need one. It has something rarer: a sonic identity so strong that hearing the opening notes of Ishq Jalakar takes you immediately back to exactly where you were sitting in the cinema, and exactly what you felt.
And that β more than any streaming number, more than any Billboard chart position, more than any Spotify milestone β is what Indian cinema has always been trying to build. An experience that doesn't end when you walk out of the theatre. Music that turns a movie into a memory.
Boxoffy Data Desk Β· March 29, 2026 Β· boxoffy.com
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Streaming figures sourced from YouTube official charts, Spotify Loud & Clear, Apple Music charts, Billboard India, and trade publications. Box office figures from Box Office India, Sacnilk, Koimoi. All figures βΉ Crores unless stated. Editorial opinions protected under Article 19(1)(a) of the Constitution of India. Β© 2026 Boxoffy.com