There was a time when a single line like “how’s the josh” from Uri became a national emotion, and even today it continues to echo with pride. Now, a similar kind of wave seems to be building around Dhurandhar: The Revenge, and it is clearly not without reason. When I first watched the film, I felt it was impressive, but I also thought it might not have strong repeat value because of its intense violence and long action sequences. However, on watching it again, the experience completely changed. I began to notice finer details that I had missed earlier, and it made me realise something very important about filmmaking.

What truly stands out in both parts of Dhurandhar is its editing. It is tight, crisp, and incredibly effective. Interestingly, just when I was about to write about this second viewing experience, the film’s director himself shared a similar appreciation (on his X handle), highlighting the role of the editor as the real force behind the storytelling flow.

While watching the film, there were several moments that left me in awe, not because I was part of the hype, but because I genuinely look at cinema with a critical eye. There are many subtle details that can easily be missed if you watch the film casually. For instance, there is a small hand expression by Rakesh Bedi’s character at the end of a particular scene. It is such a tiny gesture, but it carries significant meaning.

I also want to mention the long clash just before the climax between Hamza and Major Iqbal, where both sides are fighting as if it is an all-out war. The editing in such a complex action sequence is truly remarkable. It reflects not just the final cut, but the entire process of imagining the shots, executing them with detailed choreography involving so many actors, and ensuring everything comes together in a coordinated manner. When just watching such a sequence feels overwhelming, one can only imagine the effort that went into shooting and editing it. It is nothing short of applause-worthy.

One scene that deserves special mention is when Jaskirat, aka Hamza, returns to his home in Pathankot. The scene has no dialogue, only a background song that quietly expresses everything that is happening internally. Ranveer Singh’s performance here is remarkable. He moves from being the raw and grounded Jaskirat to the ruthless Hamza and then circles back emotionally. Standing just yards away from his home, his eyes do all the talking. The way the scene ends leaves the audience to interpret what happens next, and that is what makes it truly powerful. Credit for this goes to Ranveer Singh, director Aditya Dhar, and editor Shivkumar Panicker.

While there is a lot to praise about the film, what makes it even more meaningful is when the appreciation comes from the director himself, the captain of the ship. It shows how deeply he values the final product and the people who helped shape his vision, sometimes even beyond what he had imagined.

Director Aditya Dhar recently shared a heartfelt note on his X (Twitter) handle, expressing his admiration for someone who often remains unnoticed by audiences, the editor, Shivkumar Panicker. His words reflect not just professional respect but a deep personal bond.

Here’s what he said,

“Here’s to Shivkumar Panicker

Some relationships in filmmaking aren’t built on a single film, they’re built over years of trust, instinct, and standing by each other when it matters the most. Shiv has been that for me and much more.
He is not just my editor. He is my closest friend, my brother, my confidant, the kind of person whose loyalty is so absolute, it humbles you.
The kind of person who would stand for you, fight for you and if it ever came to it, even lay everything on the line for you.
And then there’s the genius.
Shiv is, without a doubt, one of the sharpest and smartest film editors I have ever known.
But what makes him truly exceptional is not just his craft, it’s his instinct.
His understanding of rhythm, emotion, and storytelling is almost frighteningly precise.
He doesn’t just edit a film, he breathes life into it.
With Dhurandhar, what he pulled off feels nothing short of miracle.
Yes, the decision to split the film into two parts was mine but the responsibility of making that decision work fell entirely on him. And the way he carried that on his shoulders, the way he shaped it, elevated it, and made it seamless was extraordinary.
In timelines that were, quite honestly, the craziest I have ever seen.
Where films of this scale take months, sometimes years to edit, Shiv delivered in a matter of days. Days. And not just delivered, he delivered excellence. The sharpest possible version of the film, under pressure that would break most people.
What we achieved with Dhurandhar, the scale, the quality, the deadlines is unheard of.
It breaks every conventional norm that filmmaking has followed for years. And a massive part of that credit belongs to him.
But what makes this even more special is that his contribution didn’t begin in the edit room.
He was there from the very beginning.
Like a silent co-director.
Through writing. Through prep. Through the chaos of shoot. Through post. Always present. Always thinking. Always pushing the film to be better.
He never once allowed the pressure to dilute the work.
He never once chose convenience over conviction.
He never once stepped back.
That integrity, that hunger, that loyalty is rare.
And it’s something I will carry with me for life.
The truth is, I don’t see myself making a film without him. Not now. Not ever. In many ways, he is my responsibility for life, just as much as he has made every film of mine his own.
Some contributions can be measured.
And then there are people like Shiv who become a part of your journey in a way that words can never fully capture.
Endless love, respect, and gratitude.
Dhurandhar will always carry his heartbeat within it. ❤️”

Here’s to Shivkumar Panicker

Some relationships in filmmaking aren’t built on a single film, they’re built over years of trust, instinct, and standing by each other when it matters the most. Shiv has been that for me and much more.
He is not just my editor. He is my closest… pic.twitter.com/smOGJfV4zh

— Aditya Dhar (@AdityaDharFilms) April 6, 2026

In the end, what Dhurandhar really highlights is something audiences often overlook. Behind the scale, the performances, and the spectacle, there are craftsmen who quietly shape the soul of a film. And sometimes, it takes a second viewing to truly see their work.

The Chetak Screen Awards 2026 took place in Mumbai on April 5 and saw a mix of entertainment, humour, and discussion. Comedian Zakir Khan co hosted the event and became one of the main highlights of the evening because of his sharp and bold jokes.

During the show, Zakir Khan spoke about the success of the film Dhurandhar The Revenge, which stars Ranveer Singh. The film has performed very well at the box office and has earned more than ₹1,600 crore worldwide since its release on March 19. It is an espionage thriller and has gained strong attention from audiences.

While talking about the film’s success, Zakir Khan made a joke suggesting that while people in areas like Bandra and Juhu were publicly celebrating the film, there might be some private jealousy within the film industry about its success. His comment pointed towards the idea that an outsider led film achieving such big numbers may not be welcomed equally by everyone in the industry.

Zakir Khan at Screen Awards :

“DHURANDHAR se Sabzi jali toh hai 💣 waha fatta lekin dhuaa hua hai Bandra se Juhu mein”

Which actors he is referring to 😱👀#DhurandharTheRevenge pic.twitter.com/tFzPoebJqt

— Pan India Review (@PanIndiaReview) April 5, 2026

The reaction to this joke was mixed. Some people in the audience laughed, while others appeared silent or uncomfortable. On social media, many users appreciated the comment and said it reflected a certain reality. At the same time, some critics felt that the joke was made to please the audience and called it unnecessary.

Apart from this moment, the awards ceremony also recognised achievements in cinema. Director Aditya Dhar won the Best Dialogue award for his work in Dhurandhar The Revenge. The film’s strong performance was visible both at the box office and at the event.

Actor Alia Bhatt also received attention during the evening as she made her hosting debut. She appeared in a tuxedo and handled her role with confidence, adding to the overall appeal of the event.

Overall, the Chetak Screen Awards 2026 featured a mix of celebration, humour, and discussion, with Zakir Khan’s comments becoming one of the most talked about moments of the night.

Filmmaker Priyadarshan has spoken about the issue of entourage culture in Bollywood, calling it a major problem on film sets. He shared his views while talking about how large groups that accompany actors often create difficulties during shooting.

According to him, many actors arrive on set with a large number of people, which makes the working environment crowded. He explained that this affects the shooting process and even makes it hard for him to focus on framing scenes properly.

He said, “I tell you, I hate it. That’s the worst thing happening in Bollywood. Where four actors are there, 40–60 people are also there with them. Because of that, I can’t even see my frame. They’re all around, touching the hair, nothing to touch, most of them don’t even have hair, so what they’re doing there? And I’m saying, ‘please clear, please clear.’ There is so much crowd. The paraphernalia around actors is more than my entire setup.”

Priyadarshan also compared this with the working style in South Indian film industries. He said that such large entourages are not allowed on set there. Even if actors have support staff, they are called only when needed and do not stay around during filming.

He further pointed out that some members of these entourages earn more than experienced actors used to earn earlier. Referring to veteran actor Asrani, he said, “They’re earning much more than many known actors, like people like Asrani sir and all. They were getting much less money than these people. This nuisance is not there in the South. Even if they are there, they don’t enter the set. Only when the actors call, they come. Here, they just come and stand there,” he said.

Priyadarshan also spoke about his experience working with Asrani, who passed away in October 2025. He shared that the actor will be seen in his upcoming film Bhooth Bangla, which will be released after his death. He said, “Asrani sir, I am so lucky. I finished both the films with him, the last two films I directed, and the last shot was taken, and two days later he died.”

The film Bhooth Bangla also marks the reunion of Priyadarshan with actor Akshay Kumar after more than 15 years. The film also features Paresh Rawal, Tabu and Wamiqa Gabbi in important roles.

Director Aditya Dhar has received strong response for his film Dhurandhar The Revenge, which released on March 19. The film has been performing well at the box office and has been appreciated for its action and story. It features actors like Ranveer Singh, Sanjay Dutt, R Madhavan, Arjun Rampal and others in key roles.

One of the performances that has gained attention is by Sara Arjun, who plays the role of Yalina, Ranveer Singh’s wife in the film. This is her first film as a lead actor, although she had earlier worked as a child artist.

Casting director Mukesh Chhabra recently spoke about why Sara Arjun was chosen for the role instead of a more popular actress. He explained that the team wanted someone new who would fit the character naturally without any previous image.

He said, “Aditya ko bhi bahut saare log message kar rahe the ki unhe Ranveer ke opposite cast hona hai, mujhe bhi messages aarahe the. But I told Aditya very clearly, hume ek aisa face chahiye jo sirf uss jagah ka lage, koi purana baggage naa ho (A lot of people were messaging Aditya, saying they wanted to be cast opposite Ranveer. I was getting messages as well. But I told Aditya very clearly that we needed a face that truly looked like she belonged to that place, without any old baggage). So a new face would work better because any actor who has done two films with Ranveer, that connection won’t be established because his character is going to Pakistan and meeting her.”

He also shared details about the selection process. According to him, the team conducted a large number of auditions before finalizing the actor. He said, “Toh completely fresh face hona chahiye tha. Though Sara had done films before as a child actor, but she had never done full-fledged roles in Bollywood films. We were clear ki agar hum uss duniya main jaa rah hain, toh ekdum surprise hona chahiye kj ladki kaun hai.

Hume itne auditions kiya, 1200-1300 audition kiye aur fir humne Sara ko final audition kiya. We were also craving for a new face (So it had to be a completely fresh face. Though Sara had acted in films before as a child actor, she had never done full-fledged roles in Bollywood films. We were clear that if we were entering that world, it had to feel like a complete surprise people should wonder who this girl is. We held so many auditions, around 1,200–1,300 in all, and then we finally auditioned Sara. We were also craving a new face).”

The decision to cast a new actor appears to have worked, as Sara Arjun’s performance is being noticed by audiences.