Chand Mera Dil box office collection day 9: Lakshya and Ananya Panday’s romantic drama released in theatres last Friday and received mixed reviews from both critics and audiences. The film had a slow start at the box office and witnessed minimal growth over the weekend. Since then, the film has seen no growth.
Chand Mera Dil barely sees any spike
The latest update on Sacnilk states that Chand Mera Dil has collected ₹1.60 crore. It shows that the film has found no takers, even on a Saturday, as collections have barely spiked from previous days. On Friday, the film minted ₹1.30 crore. Thursday, which was a holiday due to Eid, saw some growth at ₹2.20 crore. Its highest single-day collection is still at ₹4.25 crore, which was made on its third day of release.
This brings the total India gross collections to ₹26.39 crore and the total India net to ₹22.35 crore so far. The film is facing heat from multiple releases at the box office, the new Hollywood horror films Obsession, Star Wars: The Mandalorian and Grogu, and the Bollywood film Pati Patni Aur Woh Do.
About Chand Mera Dil
The film revolves around the two characters who meet during their college days in Hyderabad, fall in love and soon find themselves dealing with an unplanned pregnancy. She decides to keep the baby, and the couple gets married. However, their relationship soon begins to face trouble under pressure and frustration. One argument eventually turns violent, which becomes a turning point in the story and forms the central conflict of the film. Backed by Karan Johar‘s Dharma Productions, the film is directed by Vivek Soni.
A scene from Chand Mera Dil which shows Ananya’s character Chandni perform a fusion classical dance – a mix of Bharatanatyam, hip-hop, and locking has attracted a lot of reactions. Everyone from classical dance exponents to writers has chipped in to either criticise or defend her. In an interview with Hindustan Times, Charu Shankar, who played Ananya Panday’s mother in Chand Mera Dil, defended her.
“I think everyone is entitled to their opinion, but trolling is never in good taste. Conversations around art are valid. Mockery is not,” she says, adding, “The sequence being discussed was always conceived as a contemporary, edgy breakout introduction for Chandni’s character. In the film’s visual storytelling, this moment announces the arrival of a young woman who is not afraid to break the rules.”
