The Lyari setting was painstakingly built in Thailand, following a last-minute logistical shift driven by weather realities. But we will talk about that later
At first glance, the world of Lyari town in Ranveer Singh and Aditya Dhar’s Dhurandhar feels unmistakably South Asian, gritty lanes, ageing walls plastered with torn posters, and a lived-in chaos that mirrors the character of the story. But what viewers don’t see on screen is that none of it was filmed in Mumbai or Pakistan. Instead, the entire Lyari setting was painstakingly built in Thailand, following a last-minute logistical shift driven by weather realities. But we will talk about that later.
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Post the thunderous success of
this spy thriller, Pakistan’s Sindh Information Department shared a news on X that they shall be making a film on the Lyari region and this is what their tweet read:
“Misrepresentation cannot erase reality. Lyari stands for culture, peace, and resilience—not violence. While
Dhurandhar spreads propaganda, Mera Lyari will soon tell the authentic story of pride and prosperity.”
It added, “#MeraLyari movie releasing in January 2026.
Misrepresentation cannot erase reality. Lyari stands for culture, peace, and resilience—not violence. While Dhurandhar spreads propaganda, Mera Lyari will soon tell the authentic story of pride and prosperity.
#MeraLyari movie releasing in January 2026. Indian propaganda… pic.twitter.com/bWDVbMYuz0
— Sindh Information Department (@sindhinfodepart) December 13, 2025
The recreation of Lyari in
Dhurandhar
According to behind-the-scenes details shared by the film’s team, the makers initially planned to shoot the Lyari portions in Mumbai. However, unpredictable weather conditions and persistent rain made extended outdoor shoots impractical. Faced with tight schedules and the need for controlled conditions, the production opted to recreate the neighbourhood on a massive set in Thailand.
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What followed was an elaborate exercise in world-building. A combined Indian and Thai crew worked closely to construct Lyari town from scratch, focusing on authenticity rather than scale alone. Set designers sourced old Pakistani posters, Urdu newspapers, and period-specific visual cues, ensuring that every frame reflected the cultural and historical texture of the locality the film was depicting.
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