A graphic shared by the Dadasaheb Phalke International Film Festival has given Hindi cinema audiences a sharp-looking number: Shraddha Kapoor’s three selected films outgross Alia Bhatt’s three selected films by ₹676.80 crore. The comparison sets Shraddha Kapoor’s combined worldwide total at ₹1,186.08 crore against ₹509.28 crore for Alia Bhatt.
It is a substantial lead inside a small, particular window. Before that window becomes a ranking, the composition of the sample deserves attention.
What the DPIFF selection includes
Shraddha Kapoor’s side comprises Stree 2, Tu Jhoothi Main Makkaar and Baaghi 3. Stree 2 accounts for ₹830.06 crore of the total and is labelled a “Super Blockbuster” in the graphic. Alia Bhatt’s side comprises Alpha, Jigra and Rocky Aur Rani Kii Prem Kahaani, with the last title contributing ₹355.61 crore.
- Shraddha Kapoor: ₹1,186.08 crore across three selected films
- Alia Bhatt: ₹509.28 crore across three selected films
- Difference: ₹676.80 crore in Shraddha Kapoor’s favour
The arithmetic is reliable as presented. As a measure of stardom, it is far more limited.
One franchise hit drives the gap
The single largest force in this comparison is Stree 2. It arrived with an established horror-comedy universe from Maddock Films, strong audience familiarity and the kind of franchise momentum that can pull a short sample decisively upward. Remove that one film, and the comparison would look very different; keep it, and it produces the headline gap.
Alia Bhatt’s selection is more varied in genre. A relationship drama, a romantic musical comedy-drama and a performance-led action title cannot be cleanly weighed against a franchise-driven mix. This is a classic sample-composition problem: when a list is short and handpicked, any single outsize title has an outsized effect on the total.
What the gross does not settle
Worldwide collections measure ticket sales across markets, but they do not directly measure profitability, the actor’s individual contribution, opening-day momentum, digital viewership, brand value or the ability to keep pulling audiences across different kinds of projects. Verdicts and totals also vary across trade sources because of reporting methods, territory coverage, taxes, distributor share and the question of whether a figure is an estimate or an audited number.
The DPIFF post is best read as a crisp snapshot rather than a definitive career ranking. It shows that Shraddha Kapoor leads by a wide margin in these six selected films. It does not settle the wider debate about range, longevity or stardom, because the two filmographies are built differently and cannot be reduced to one aggregated number.
How to read such comparisons
For readers who follow Hindi cinema closely, the useful habit is to ask three questions. Which titles are in the sample? Does one release skew the total? And is the metric the same thing as the claim being made? A comparison of like with like—genre, release scale, budget and era—will usually say more than a wide-gap total built from a handful of selections.
Source: Dadasaheb Phalke International Film Festival – DPIFF
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