Anek box office day 2: Ayushmann Khurrana starrer political drama struggles to find audience, earns Rs 4 crore
Anek follows the story of an undercover cop, Joshua played by Ayushmann, who is on a mission to restore peace in the northeast region of India.
The trailer of Ayushmann Khurrana starrer Anek had raised hopes among the audience for its narrative highlighting the socio-political situation in Northeast India. However, the movie which was released on May 27, failed to impress as it struggles to draw audiences to the theatres. The movie had a poor start at the box office collecting Rs 2.11 crore on Day 1 and on the second day continued to perform average at the ticket window.
As per early estimates, the political drama directed by Anubhav Sinha earned Rs 2.30 crore India net on Day 2 of release. Earlier, trade analyst Taran Adarsh had tweeted that the movie’s starting point was extremely low. Its business on Day 2 and Day 3 is most crucial to decide its fate at the box office. Going by the numbers so far, it is unlikely for the film to have a double-digit weekend, unless it paces up over the weekend.
According to BoxOfficeInda.com, the film registered the lowest box office numbers out of all the major releases post the pandemic. Ayushmann’s last release Chandigarh Kare Aashiqui too had a slow start, but Anek has performed below that. Meanwhile, Anek is the second collaboration of Ayushmann and Anubhav after the 2019 film, Article 15 . Their first movie together performed quite well, earning under Rs 100 crore at the box office.
Anek follows the story of an undercover cop, Joshua played by Ayushmann, who is on a mission to restore peace in the northeast region of India. The film also stars debutant Andrea Kevichusa. It is jointly produced by Bhushan Kumar ’s T-series and Benaras Mediaworks.
Anek’s Desimartini review reads, “Revolving around the conflicts and political turmoil in the Northeast region of India, the movie tries to put forth a strong message but falls flat due to the monotonous screenplay and plotline. The sole validating aspect of the movie lies in the honest effort to bring forth a North-Eastern representation of the celluloid but that too fails to shine due to the shoddy treatment of the same.”