
The Fantastic Four India Box Office Report: ₹21.79 Cr in 4 Days, Drops on Monday
Friday (Day 1): ₹5.5 crore
Saturday (Day 2): ₹7.35 crore
Sunday (Day 3): ₹7.25 crore
Monday (Day 4): ₹1.66 crore
Total India Collection (4 Days): ₹21.79 crore (approx.)
The big drop on Monday suggests that the film may struggle to hold audience interest during the week.
Competition in India
The film is facing tough competition:
'Saiyaara' (Ahaan Panday, Aneet Padda) is still going strong with over ₹250 crore already collected.
'Mahavatar Narsimha', an animated mythological movie, had a ₹20 crore opening weekend.
These movies are pulling audiences away from The Fantastic Four in India.
International Collection
Globally, the film is doing very well:
North America: $118 million
International markets: $100 million
Worldwide total (opening): $218 million
This makes it the 4th biggest global opening of 2025, after A Minecraft Movie, Lilo & Stitch, and Superman.
The film's global success is clear, but in India, its future depends on weekday collections and how well it can compete with strong local hits.
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Because in a country like India the question of who a person is, is immediately tied to caste, class, and religion, and these must be invoked in commercial cinema only in the most unthreatening ways. For love to traipse over hurdles of caste, class, or religion would require lopping off a part of your self, floating away from family. And, in an Indian context where family is ultimately the thing returned to, love stories can never be truly radical because they can never contend with the fact that the family, at times, must be forsaken. Maybe, the Indian love story is not about the lovers at all but about the family. Our love stories end not with lovers saying they love each other but with marriage. Not with personal declaration but with public sanction. Saiyaara, too, ends in marriage. Tangling of the private and public But there are other ways the private and public get tangled. In Deep House: The Gayest Love Story Ever Told, for example, Lin keeps switching between two registers of thought. On the one hand is the legal history of gay love and same-sex marriage, on the other is his love story, meeting the British boy of his dreams, a long-distance, transatlantic affair that led to his lover moving to America, overstaying his visa, and becoming one of many undocumented Americans living in the shadows, afraid even a hospital visit may expose him. Also Read | Umrao Jaan in 4K: A restoration of surface, not substance If it is truly a 'love story', the book's sway between these two registers initially feels strange, see-sawing between legal history and personal diary, pretending one extends into the other. This, however, is the book's provocation—that the point of private life is that it is not public but that does not mean it is not affected by it. Sometimes our private lives have a public afterlife, or our public lives have personal afterlives. Law and love, personal desire and political destiny apply pressure on each other to open up. The laws of immigration, for example, are as much a part of Lin's plot as the protagonists' affection for each other. We arrive at love not as individuals but as worlds. It would be nice if, once in a while, Indian love stories remind us of this. Nice, but perhaps, that is another implausibility. Prathyush Parasuraman is a writer and critic who writes across publications, both print and online.