Despite a thunderous opening, Nandamuri Balakrishna’s Akhanda 2: Thandavam is facing financial strain. With a massive ₹200 crore budget, the film collected over ₹30 crore on day one and crossed ₹86 crore in 12 days. However, steep weekday drops and mounting costs have raised concerns in trade circles about profitability.
The much-anticipated sequel Akhanda 2: Thandavam, directed by Boyapati Srinu, stormed into cinemas on December 12, 2025, riding on Balakrishna’s star power and high-octane promotions. The film’s opening was nothing short of spectacular, with ₹30 crore earned on day one across multiple languages. Within four days, worldwide collections touched ₹83 crore, signaling blockbuster potential.
Yet, the story behind the numbers tells a different tale. With an estimated ₹200 crore budget—covering production, star remuneration, marketing, and wide-scale release—the film is struggling to sustain momentum. By day 12, collections had slowed to ₹1 crore daily, bringing the India net total to ₹86.5 crore. Despite strong weekends, weekday earnings have dipped sharply, raising alarms in trade circles.
Key Highlights
• Notable Update: The film’s ₹200 crore budget makes it one of Balakrishna’s most expensive projects to date
• Major Takeaway: Akhanda 2 earned ₹30 crore on opening day, surpassing Balakrishna’s previous release Daaku Maharaaj
• Important Point: Worldwide collections hit ₹83 crore in just four days, but momentum slowed after the second weekend
• Significant Insight: By day 12, net collections stood at ₹86.5 crore, with weekday earnings dropping nearly 70%
• Industry Note: Despite mixed reviews, the film drew strong footfalls initially, but high costs and declining revenue threaten profitability
Conclusion
Akhanda 2: Thandavam exemplifies the risks of high-budget filmmaking. While Balakrishna’s star power ensured a roaring start, sustaining box office momentum against towering costs remains the real challenge. The film’s trajectory underscores how opening buzz alone cannot guarantee financial success in today’s competitive cinema landscape.
Sources: The Hans India, Times of India