Maa box office collection day 6: Kajol’s mythological horror set to beat Shahid Kapoor’s Deva, will hit Rs 25 cr in one week | Bollywood News

Maa box office collection day 6: Kajol‘s big screen comeback film, the mythological horror-thriller Maa, opened to decent numbers at the box office. The film, which hit theatres on June 27, has been maintaining a steady pace despite a packed marketplace. After making headlines for becoming the highest grossing film led a female actor this year, Maa is set to be Kajol’s 9th-highest-grossing movie. The film is facing tough competition from Aamir Khan’s Sitaare Zameen Par and Brad Pitt-starrer F1.
According to the early estimates on industry tracker Sacnilk, Maa earned around Rs 1.75 crore India net on July 2, taking its total domestic collection to Rs 24.9 crore. The film has still managed to beat the lifetime collection of several 2025 releases (Emergency – Rs 20.48 crore, Fateh – Rs 16 crore). It is now expected to beat Shahid Kapoor’s Deva (Rs 32.7 crore), which released earlier this year. In its opening weekend, Maa collected Rs 4.65 crore, Rs 6 crore, and Rs 7 crore on Friday, Saturday, and Sunday, respectively.
On day six, Maa had an overall 10.13% Hindi occupancy at the theatres on Wednesday – with morning shows at 6.03%, afternoon shows at 11.42%, evening shows standing at 10.94%, and night shows at 12.12%. The theatre footfall might witness a marginal improvement over the weekend. As per Sacnilk, the highest theatre occupancy was in the Chennai region.
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Maa belongs to the supernatural thriller universe of her husband Ajay Devgn’s Shaitaan, which released last year. Directed Vikas Bahl, Shaitaan earned Rs 14.75 crore on its opening day itself and had an overall lifetime domestic collection of Rs 147.97 crore. Co-produced Devgn Films and directed Vishal Furia, Maa also features Ronit Roy, Indraneil Sengupta, Kherin Sharma, and Jitin Gulati in pivotal roles.
A part of SCREEN’s review of Maa read, “The production design with its saturated colours make ‘Maa’ a vivid experience. The forest just behind the haveli, whose gnarled trees hide old bones, the faded faces of the women who have suffered at the hands of the ‘daitya’ (demon) called Raktbeej, the miasma of fear which the village wears like a shroud, all have presence. This is a film which is clearly well-intentioned. Smashing patriarchy is a task that films need to keep taking up, and Kajol has the heft to get the job done. Talking up menstruation, still considered taboo in this day and age, as a matter-of-fact discussion between ma-and-beti is a stand-out thread. But the writing is bland, and there’s nothing new in the CGI (computer generated images) which is extensively used.”