Released in 2016, 7 Hours to Go (stylized as 7 ) was directed by director and produced by Vijay Taneja . The film stars Jimmy Sheirgill , Mahnoor Baloch , and Gurpreet Ghuggi in pivotal roles.
A high-budget historical epic that showcased the industry's ability to handle "period drama" on a grand scale.
Laung Laachi, directed by Vishal Vijay, is a romantic comedy-drama that stars Dilpreet Dhillon, Hina Kaur, and Bhanu Chander in lead roles. The movie follows the story of a young man who falls in love with a girl and faces various challenges in their relationship. Laung Laachi received positive reviews and performed well at the box office, grossing over ₹20 crore.
In an industry heavily dominated by loud comedies, Qismat proved that a pure, tear-jerking romantic tragedy could achieve massive commercial success.
These movies have contributed significantly to the growth and popularity of the Punjabi film industry.
The Punjabi film industry, often affectionately called Pollywood, has long been stereotyped as a conveyor belt of lighthearted rom-coms, boisterous wedding songs, and larger-than-life heroes. While these elements are beloved staples, the industry has quietly been maturing, producing films that challenge its own conventions. A prime example of this self-aware evolution is the 2022 film 7 Hits . Directed by Ishaan Chopra, 7 Hits is not merely a crime drama; it is a sharp, meta-commentary on the price of fame, the illusion of the "overnight success," and the cyclical nature of ambition in the entertainment industry.
One of the most successful post-pandemic releases, proving the audience's hunger for theatrical experiences.
Directed by , this film is the gold standard for Punjabi slapstick comedy. It was the first Indian Punjabi film to cross the ₹100 crore mark. With an ensemble cast including Gippy Grewal and Sonam Bajwa , it’s famous for its rapid-fire dialogues and "madhouse" family confusion.
No shiny palaces. No pink turbans. 7 was shot in the dusty, real hinterlands of Punjab and Chandigarh. The cinematography used rain, night lighting, and claustrophobic interiors to build dread. It felt cinematic, not theatrical.