
F1 The Movie Box Office Collection Day 8: Next Stop For Brad Pitt's Film
Brad Pitt's high-octane racing drama F1: The Movie is holding steady at the Indian box office as it enters its second weekend.
What's Happening
According to Sacnilk, F1 has earned Rs 39 crore net across all languages in India so far.
After a solid first week with Rs 35.5 crore, the film added Rs 3.5 crore on its eighth day (Friday).
The film has shown strong traction in urban centres, with the English 2D version recording an overall occupancy of 30.78% on Day 8.
Night shows performed particularly well, crossing the 50% mark, while evening shows maintained occupancy above 37%.
The Tamil version also contributed to the film's performance, reporting 33.41% overall occupancy, with night shows nearing 40%.
Baclground
The Hindi version saw a more modest response, with Day 8 occupancy for Hindi 2D shows at 11.26%. The highest turnout was during night shows, which touched 16.04%.
The film's genre and lead cast have made it more appealing to urban audiences, with limited reach in smaller Hindi-speaking regions.
With Rs 39 crore already collected, F1: The Movie is now targeting the Rs 50 crore mark in India.
Continued support in metro cities and Southern states will be key to its second-week performance.

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Economic Times
38 minutes ago
- Economic Times
The Nose Job: How India is recreating the world's most expensive perfumes
A few years ago, American fashion designer Tom Ford's childhood in Texas was captured in an expensive black bottle. Unusual notes of leather, cardamom, violet, jasmine, patchouli and moss were combined to conjure up the dust and beauty of the American Wild West. Tom Ford Ombre Leather eau de parfum costs Rs 12,000 for a 50 ml bottle. A world away, on the first floor of Supertech Ecociti Tower in Sector 137 in Noida, Uttar Pradesh, Mohammed Zaid crafts his perfume that matches the luxury fragrance—drop by drop. His Eau de Zidaan Ombre Leather has, its website says, notes of leather, warm spices, white florals, amber, moss and patchouli. 'Inspired by Tom Ford's Ombre Leather', it costs a mere Rs 1,770 for a 100 ml bottle. Zaid, the 32-year-old founder of Zidaan Fragrance Industries, says, dropping the names of some of the most popular luxury fragrances: 'Some of our bestsellers are inspired by Baccarat Rouge, Louis Vuitton Pacific Chill and YSL Black Opium. But we never claim they are exact copies. Our scents are tributes — we build each one from scratch based on mood and projection.'Eau de Zidaan has quite a portfolio of 'inspired' perfumes and they come for Rs 1,100-1,800 each. Zaid says his company has loyalists who buy eight or more bottles and keep reordering their favourites. 'That's loyalty built on scent, not hype,' he bootstrapped label is part of India's olfactory uprising: perfumes that smell of luxury without the pricey price tag. These 'inspired' perfumes, the affordable smell-alikes—of almost everything from YSL's Libre to Chanel's Coco Mademoiselle—are drawing in millennials and Gen Z who like to smell rich without burning through their monthly salary. They are turning to affordable recreations that bottle the aura of oud, amber and French florals. The word is spread at the speed of Instagram reels. 'Everyone wants to smell luxurious. The logo doesn't matter anymore,' says a perfume seller in Crawford Market, Mumbai. 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'Customers are more focused on quality than quantity—we offer 50 ml perfumes at Rs 600-700 instead of 100 ml bottles filled with subpar blends.' Arabian Aroma sold around 500,000 bottles in 2024, and is targeting over Rs 30 crore in revenue this fiscal says a shift to innovation is now gathering momentum. 'In 2024, we launched our signature collection— original perfumes crafted in-house. Our bestselling perfume today is Seduction, not an inspired scent but our own creation,' he Manjaramkar, a 23-year-old engineer and fragrance enthusiast from Pune, has tried several perfumes by Arabian Aroma. 'Their recreations of Dior Sauvage, Azzaro's The Most Wanted and Jean Paul Gaultier Ultra Male last three to five hours, while their originals like Seduction and Royal Oud easily last eight hours,' he Perfumery and Celestial Perfume in Gujarat too are known for recreating global luxury fragrances. 1% INSPIRATION? Behind every inspired perfume that smells like a Rs 20,000 classic but costs under Rs 1,000 lies a meticulous deconstruction of fragrances and an intricate backend don't just guess notes in a bottle —many reverse-engineer the originals down to their chemical DNA, and blend top, heart and base accords with near-obsessive precision.'Crafting a high-quality, inspired fragrance is not as simple as just blending ingredients,' says Gupta. 'We always purchase the original bottle or authentic samplers to study the perfume's DNA. The structure and layering have to be understood deeply to recreate the aura, not just the top note.' He claims many new brands skip this step, leading to scents that feel like 'cheap echoes'— resulting in poor word-ofmouth and zero repeat buyers. This is why suppliers like Harkaran Singh, founder of Delhi-based Aldrome, are in demand. He says his company creates bespoke fragrance oils for many perfume houses in the country, including replica-makers. 'The demand is high for profiles like white oud, velvet rose and oud, and Amalfi coast—their luxurious, layered notes suggest premium even when sold affordably.' Aldrome sources lavender from Bulgaria, lemon from Italy and orange from Brazil. Singh says the company uses the technique of gas chromatography–mass spectrometry, which analyses the composition of perfumes, to ensure scent accuracy and batch consistency. 'Our team can combine two, five, even 10 accords to mimic the mood of a highend scent,' he says. 'It's not about copying—it's about hitting the right emotional chord.'This behind-the-scenes chemistry allows indie perfumers to move fast. 'We are obsessed with performance,' says Zaid. 'We test every oil on how it blends, how it wears on skin, how it holds in Indian weather. That is the edge.' And it is finding its Gupta, a Delhi-based brand consultant, says, 'I used to save up for designer perfumes, but now I get compliments on my Rs 1,300 Zidaan YSL scent more than I ever did with other perfumes. It lasts through the day, smells luxe and doesn't burn a hole in my wallet.' NO SCENT OF LAWSUIT Smelling like money no longer costs it. But why don't luxury fashion houses call out the imitations? Or, file lawsuits?'Fragrances, being intangible, are not protected under Indian copyright law,' says Dinesh Parmar, partner, Parker & cannot, in short, copyright a smell. Law protects packaging, logos and brand names —but not the perfume. Therefore, perfume makers who make recreations steer clear of copying logos or packaging.'An inspired-by perfume isn't illegal,' says Samta Mehra, partner and trademark chair at Remfry & Sagar. 'Trade dress and bottle shape can be challenged —as in the Davidoff vs Ramsons case— but the fragrance itself remains legally unprotected.'Luxury brands have pushed back when the mimicry is visual. In the Davidoff vs Ramsons case of 2019, which Mehra refers to, the Delhi High Court stopped Thane's Ramsons Perfumes from selling perfumes in a dumbbell-shaped bottle that closely resembled Davidoff Champion's. Similarly, in 2024, the Delhi High Court blocked Mumbai-based Petrol Perfume's Mr. Petrol for packaging that copied Burberry's Mr. perfumes lead to brand dilution and financial losses. Global losses from counterfeit perfumes are estimated to be over $2 billion annually, according to Jarsking, a global packaging manufacturer. Parmar says even if a buyer never intended to purchase an original— say, Chanel Bleu for Rs 18,000 — the fact that its aura can be bought for Rs 900 affects its exclusivity and longterm brand isn't new in the perfume world. 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India.com
40 minutes ago
- India.com
Shubman Gills Net Worth In 2025: From IPL's Rs 26.5 Crore Earnings To BCCI's Central Contract - All You Need To Know
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The Hindu
an hour ago
- The Hindu
Western chamber opera blends Buddhist wisdom and Carnatic improvisation
Published : Jul 06, 2025 08:28 IST - 3 MINS READ 'This is perhaps the first time that Indian classical music, in its improvised, living form, is present in an opera of this scale,' began the noted Carnatic vocalist Aruna Sairam. She was speaking to Frontline from LUMA Arles, a contemporary arts foundation at the Parc des Ateliers in the city of Arles, France, ahead of the world premiere of the chamber opera The Nine Jewelled Deer, in which she plays the dual roles of a clairvoyant queen and a grandmother. Composed by Sivan Eldar, with visual art by Julie Mehretu and libretto contributions from the novelist Lauren Groff, this opera directed by Peter Sellars features the voices of the singer-librettist Ganavya Doraiswamy and Aruna Sairam alongside a cross-cultural ensemble of soloists on the clarinet, saxophone, violin and cello, and for the first time, the mridangam, played by the percussionist Rajna Swaminathan. The Nine Jewelled Deer was born of an unlikely jugalbandi between two women from vastly different artistic worlds. When Ganavya heard Sivan Eldar's opera-in-progress at an artists' residency in Tuscany in 2021, she told her: 'I listened to your music … and I just thought of my grandmother. And I've had this dream of creating a project that is inspired by the story of my grandmother.' By the end of that residency, Sivan Eldar was aboard Ganavya's dream project. They were joined by Ganavya's long-time collaborator and theatre director Peter Sellars from Los Angeles, and Aruna Sairam from Chennai. The conversations continued across continents and time zones over many months. Slowly, steadily, an oratorio on loss, resilience, and renewal came into being. The Nine Jewelled Deer braids together three distinct strands of story: a Jataka tale of the Ruru deer, the first chapter from the early Buddhist text Vimalakirti Sutra, and the life of the jalatarangam artist Seetha Doraiswamy (1926–2013). The parable of the eponymous deer which embodies a love so vast it embraces even betrayal is surely a parallel for the times we live in, perhaps meant to make one reflect on the long arc of both suffering and healing. Aruna Sairam spoke at length about the rehearsal process, the long weeks of immersion, improvisation, listening and learning. She said: 'As a Carnatic musician I'm improvising all the time—no two versions of my singing are the same. Whereas they [the practitioners of Western classical music and opera] are used to written scores. So we've spent weeks learning how to respond, not with certainty, but with curiosity. And over time, your listening becomes sharper, your vision clearer. It's like zen.' For Ganavya, the opera is also a personal tribute to her grandmother. Jalatarangam means 'waves in water', and Seetha Doraiswamy made waves making music using porcelain bowls filled with varying levels of water. Her kitchen was a safe space, a refuge for countless young female students within a stifling patriarchy and cultural orthodoxy. As Sivan Eldar put it memorably in an interview, for Seetha, her 'kitchen orchestra' was equal to playing in Carnegie Hall. In the same interview, Peter Sellars pointed out that hers was 'a music of refugees. A music of feeding people, both with food and with spiritual replenishment, with courage, with love.' The strands of story in The Nine Jewelled Deer seem to suggest that compassion and care, not conquest, may be the more radical act of resistance. As Sellars reminds us, 'We don't need to go find a deer. We don't have to go get a Buddha.' The Buddha is already amongst us, within us. The Nine Jewelled Deer premieres at LUMA Arles on July 6. The performances will continue at LUMA Arles on July 8 and 9, and then move to the Théâtre du Jeu de Paume in Aix-en-Provence from July 13-16.