Sunny Sanskari Ki Tulsi Kumari box office collection Day 2: Shashank Khaitan‘s romantic comedy-drama released in theatres on October 2 and opened to a decent start at the box office. However, the film received mixed reviews upon release, and its impact is now evident in the box office performance, as the film saw a drop in collections.

Box office collection

According to trade tracking site Sacnilk, Sunny Sanskari Ki Tulsi Kumari collected ₹9.25 crore on its opening day. However, on its second day and first Friday, the film saw a sharp decline, earning less than half of what it made on Day 1. The film collected only ₹4.04 crore, taking its total to ₹13.29 crore. It has failed to earn even ₹20 crore in two days. The film recorded an overall 14.94% Hindi occupancy on Friday, with 9.06% in morning shows, 17.44% in afternoon shows, and 18.33% in evening shows.

The film is lagging far behind Rishab Shetty’s Kantara Chapter 1, which collected ₹61.85 crore on its opening day and ₹43.65 crore on Day 2. Its total domestic collection now stands at ₹105.5 crore. The film is expected to cross the ₹150 crore mark by this weekend.

About Sunny Sanskari Ki Tulsi Kumari

Directed by Shashank Khaitan, Sunny Sanskari Ki Tulsi Kumari stars Varun Dhawan, Janhvi Kapoor, Rohit Saraf and Sanya Malhotra in lead roles, alongside Akshay Oberoi, Maneish Paul and Abhinav in supporting roles. Backed by Karan Johar, the film has been criticised for its dull storyline.

The story follows Sunny (Varun Dhawan), who is left heartbroken when his girlfriend Ananya (Sanya Malhotra) caves in to parental pressure and agrees to marry the wealthy Vikram (Rohit Saraf). Vikram, in turn, abandons Tulsi (Janhvi Kapoor). Nursing broken hearts, Sunny and Tulsi team up to crash the wedding of their exes and reclaim their love. The question is, can they pull it off?

An excerpt from the Hindustan Times review of Sunny Sanskari Ki Tulsi Kumari reads,”The core idea of the film, that nobody should have to sacrifice love due to familial pressure, is lost because the families themselves never convince you. The writing by Shashank and Ishita Moitra leans so heavily on the romances that it forgets to build the families who are supposed to shape them.”