‘Sardaar Ji 3’ Becomes Top-Grossing Punjabi Film of the Year — Without an Indian Release

Diljit Dosanjh and Hania Aamir’s latest Punjabi film Sardaar Ji 3 has made headlines by becoming the highest-grossing Punjabi movie of the year, despite not being released in Indian theatres. The film’s global success has sparked conversation around censorship, diaspora viewership, and the growing international appeal of regional Indian cinema.

No Release in India, Yet a Global Blockbuster

Sardaar Ji 3 was not released in India due to reasons still undisclosed officially, but the film saw a strong opening across international markets, including the UK, Canada, the US, Australia, and New Zealand. Within just a few days of release, it broke several Punjabi box office records overseas.

Punjabi-speaking audiences abroad turned up in large numbers, with packed shows reported in cities like Toronto, London, and Melbourne. The film’s relatable storyline, engaging performances, and cultural connect contributed to its unexpected overseas success.

A Remarkable Feat for Regional Cinema

The success of Sardaar Ji 3 shows the growing influence of Indian regional films, especially Punjabi cinema, beyond national borders. In the absence of a domestic release, the film’s performance proves that language-specific content can thrive globally when there’s a strong community base and digital buzz.

This trend is particularly important for Punjabi filmmakers, who often rely on the strong NRI audience base. With a significant portion of India’s Punjabi-speaking population residing abroad, producers are increasingly tailoring content that resonates with both home and overseas viewers.

What It Means for Tier 2 Cities and Audiences

For Punjabi-speaking communities in Tier 2 cities like Ludhiana, Amritsar, Patiala, and Jalandhar, the film’s absence from Indian screens came as a disappointment. However, its popularity has already led to unofficial online viewing and fan-led social media promotions in India.

This incident also raises questions around censorship, film distribution policies, and the need for wider access to regional films within India. Tier 2 cities, which are major hubs for regional film audiences, are often left out of global success stories due to limited access or delays in domestic releases.

What’s Next for Punjabi Cinema?

The unexpected success of Sardaar Ji 3 is likely to influence how future Punjabi films are planned and marketed. Filmmakers may now give even more attention to overseas launches, online platforms, and targeted promotions to reach a wider audience — especially when facing release challenges within India.

Actors like Diljit Dosanjh, who already enjoy massive international fan bases, may continue to be the driving force behind this global movement in regional cinema.

Conclusion

Sardaar Ji 3’s rise as the top Punjabi film of the year, without a domestic release, marks a shift in how we view success in Indian cinema. It highlights the importance of the diaspora, the power of digital communities, and the growing demand for regional stories that connect beyond borders. For Tier 2 city audiences and creators alike, it’s a reminder that strong content can find its way to the world — even without traditional paths.