Doctor G, a new movie starring Ayushmann Khurrana, will release in theatres on October 14. Rakul Preet Singh, Shefali Shah all appear in the comedy-drama directed by Anubhuti Kashyap.
The trailer of the film was released on Tuesday. The nearly three-minute-long trailer starts with Ayushmann Khurrana’s character, Dr Uday Gupta, getting in trouble after he demanded that his patient take off her clothes at a clinic for a diagnosis. While attending medical school, he seems uncomfortable handling women and says that his career goal is to become an orthopaedic surgeon. In the midst of this, Rakul Preet Singh is viewed as his love interest and co-worker. When he finds himself in gynaecology as the lone male student, he engages in some ragging. Ayushmann’s mother is portrayed by Sheeba Chaddha as she uses Tinder to find love. Shefali Shah plays Dr Nandini, a senior character who advises Ayushmann Khurrana to lose the “male touch”. He strives to get above his fear and comprehend his patient’s issues. He also kisses Rakul passionately in the movie in between the chaos.
Khurrana has enjoyed success at the box office in recent years with films like Bareilly Ki Barfi (which earned 34.02 crore), Shubh Mangal Saavdhan (which earned 41.98 crore), Andhadhun (which earned 73.37 crore), Badhaai Ho (which earned 134.46 crore), Article 15 (which earned 65.25 crore), Dream Girl (which earned 139.37 crore), and Bala (Rs. 110.97 crore). However, due to the pandemic, his most recent theatrical production before COVID-19, Shubh Mangal Zyada Saavdhan, had a poor box office performance, and the comedy-drama Gulabo Sitabo was immediately published on an OTT platform. Anek, a political thriller, made Rs. 7.02 crore whereas Chandigarh Kare Aashiqui, a December release, made Rs. 28.26 crore.
A number of mid-sized films are attempting to capitalise on the post-covid market despite the failure of low-budget films Jayeshbhai Jordaar, Anek, Attack, and Shabaash Mithu. Smaller films are essential for both actors as well as the exhibition sector.
However, once covid-led limits were loosened, industry analysts claim that the audiences have been flocking theatres only for large spectacles. For the theatres to recover from and expand after Covid, the content pipeline must continue to flow.