Mirai box office collection day 6: Teja Sajja‘s fantasy epic Mirai dominated the box office after its release last week, crossing the Rs 100 crore mark worldwide within just five days. However, the film has since slowed down slightly, recording its lowest single-day collection on Wednesday.
On day six, Mirai earned Rs 4.5 crore at the Indian box office, according to industry tracker Sacnilk. The total domestic collection of the movie stands at Rs 61.50 crore.
On Wednesday, the film registered an overall 20.69% occupancy in Telugu theatres, with morning shows at 13.96%, afternoon shows at 21.02%, evening shows at 20%, and night shows at 27.1%. The highest occupancy was recorded in the Mahbubnagar region. In Hindi-speaking regions, it recorded an overall occupancy of 11.58%.
Manchu Manoj hints at Mirai 2
Recently, Manchu Manoj, who plays the antagonist in Mirai, hinted at a sequel to the film. In an interview with Hindustan Times, he said, “There’s more in store for the fight between Vedha and Mahabir. For one, when Vedha shot the arrow, did he hit Mahabir’s leg or head? Ravana could only be beaten when shot in the navel. There are so many questions left unanswered for my character and the film as a whole. Karthik has big plans for Mahabir in the franchise.”
Directed by Karthik Gattamneni, the movie, also starring Shriya Saran, Jagapathi Babu and Ritika Nayak, opened on September 5 to mixed reviews. An excerpt of SCREEN’s review of Mirairead, “Karthik Gattamneni, co-writing the script with Manibabu Karanam, positions the film as a spunkier reimagination of the devotional epic that once held a formidable place for itself at the box office. His vision is extracted emphatically from the vibrancy of Hindu Mythology, but with the sensibility and energy of a modern Hollywood superhero blockbuster. The film is, at its core, about visual dazzle, and its merits solely stem from the fact that the grandeur has been achieved on what appears to be a mid-sized budget. So, when the flaws in its storytelling become apparent, the viewer might feel inclined to overlook them because of the ambition that the makers carry and the near-precision with which they execute their spectacle.”
