Chetak Screen Awards 2026 full winners list: Dhurandhar dominates with 14 wins; Homebound takes Best Film

The Chetak Screen Awards 2026 honoured some of the most notable achievements in Indian cinema this year, with Dhurandhar emerging as the biggest winner of the night by taking home 14 trophies across major categories. While Dhurandhar dominated the technical and performance honours, Homebound secured the top prize for Best Film, marking a balanced spread of recognition across the industry’s biggest titles.

Here is the complete winners' list from the ceremony. Major award winners Best Film Homebound

Best Actor (Female) Yami Gautam Dhar – Haq

Best Actor (Male) Ranveer Singh – Dhurandhar

Best Director Aditya Dhar – Dhurandhar

Best Actor in a Supporting Role (Female) Shalini Vatsa – Homebound

Best Actor in a Supporting Role (Male) Akshaye Khanna – Dhurandhar Technical category winners Best Action Aejaz Gulab, Sea Young Oh, Yannick Ben, Ramazan Bulut – Dhurandhar

Best Background Score Shashwat Sachdev – Dhurandhar

Best Choreography Vijay Ganguly – ‘Shararat’ (Dhurandhar)

Best Cinematography Vikash Nowlakha – Dhurandhar

Best Costume Sheetal Iqbal Sharma – Chhaava Smriti Chauhan – Dhurandhar

Best Dialogue Aditya Dhar – Dhurandhar

Best Editing Shivkumar V. Panicker – Dhurandhar

Best Hairstyling and Make-Up Preetisheel Singh D'Souza – Dhurandhar

Best Production Design Saini S. Johray – Dhurandhar

Best Sound Design Bishwadeep Chatterjee – Dhurandhar

Best Special Effects Envision VFX, Philm CGI, Resonance Digital, Dhruti Ranjan Sahoo, Vishal Tyagi, Raza Mohammed Shaikh – Dhurandhar Writing and special recognition Best Film for Gender Sensitivity Haq – Vineet Jain, Vishal Gurnani, Harman Baweja, Juhi Parekh Mehta, Amrita Pandey, Suparn S Varma, Rowena Baweja, Sandeep Singh

Best Film Writing (Story and Screenplay) Basharat Peer, Neeraj Ghaywan, Sumit Roy – Homebound Music category winners Best Song “Title Track” – ‘Saiyaara’ (Tanishk Bagchi, Faheem Abdullah, Arslan Nizami)

Best Lyrics Ul Julool Ishq – Gulzar

Best Playback Singer (Male) Faheem Abdullah – ‘Saiyaara Title Track’

Best Playback Singer (Female) Shreya Ghoshal – ‘Saiyaara Title Track’ Breakthrough winners Breakthrough Debut Director Shazia Iqbal – Dhadak 2

Breakthrough New Actor (Female) Aneet Padda – Saiyaara

Breakthrough New Actor (Male) Ahaan Panday – Saiyaara OTT category winners 📺 Best OTT Film Stolen – Gaurav Dhingra

Best Actor (Female) – OTT Film Sanya Malhotra – Mrs.

Best Actor (Male) – OTT Film Abhishek Banerjee – Stolen

Best Director – OTT Film Karan Tejpal – Stolen

Best Script – OTT Film Karan Tejpal, Gaurav Dhingra, Swapnil Salkar – Stolen

With 14 awards across acting, direction, and multiple technical categories, Dhurandhar emerged as the night’s biggest winner, while Homebound, Saiyaara, and Stolen also secured major honours across theatrical and streaming segments

Also Read: Chetak Screen Awards nominations announced: Dhurandhar leads with 24 nods; Saiyaara, Homebound follow

Bhooth Bangla trailer sneak peek: The return of Akshay Kumar, Priyadarshan and the comedy OGs promises loads of entertainment; Tabu emerges as the surprise package

Last night, Bollywood Hungama got a sneak peek of the trailer of the much-awaited film of the month, Bhooth Bangla, more than 12 hours before its launch today (April 6). The film has already created a buzz due to its horror-comedy genre, casting and more, and the trailer is expected to further enhance the hype around it.

The trailer is around 2 minutes and 58 seconds long and offers a better idea of the premise. The focus, of course, is on the humour quotient. As expected, Akshay Kumar steals the show. There’s no one like him when it comes to comedy, and he proves it yet again. He is ably supported by a stellar cast comprising Rajpal Yadav, Paresh Rawal and the late Asrani. Just seeing all of them together, that too in a Priyadarshan film, is sure to make fans nostalgic and excited. To add to the nostalgia, the makers have used two famous dialogues from Priyadarshan’s memorable comedies of the past, which are sure to be lapped up.

Wamiqa Gabbi and Mithila Palkar get limited screen time, but it’s clear that they, too, have a significant part to play in the narrative. However, the surprise element of the trailer is Tabu. She seems to be the surprise package, and the makers have smartly kept her character under wraps. In fact, it’s evident that a major chunk of the plot, especially the horror element, has not been revealed. Hence, expect horror, comedy and a blend of suspense when the trailer drops at 9:00 pm on April 16.

The postponement of the film by a week led to disappointment among fans. However, the delay could work in the film’s favour, as Dhurandhar The Revenge would have almost exhausted its run by then. A healthy opening seems to be on the cards. Moreover, with no major competition until May 1, Bhooth Bangla will enjoy a clean two-week window to leave a mark at the box office, provided the audience response is favourable.

Also Read: Wamiqa Gabbi to play female lead in Akshay Kumar starrer Bhoot Bangla: Sources

Janhvi Kapoor calls out oversexualisation: “Zooming into body parts without consent is invasive”

Actor Janhvi Kapoor has spoken candidly about being oversexualised in the public eye, addressing concerns around consent, paparazzi culture, and the growing misuse of digital content. During a conversation on the Raj Shamani Podcast, the actress shared how such experiences have shaped her personal and professional decisions.

Recalling a recent interaction with paparazzi, Kapoor said, “I actually had a conversation with paparazzi recently. I told them—this is bad for us, it feels invasive and non-consensual. Even if we dress a certain way, we’re not expecting someone to zoom in on specific body parts. And more than us, it reflects badly on them—that they’re commodifying a woman’s body for money and views.”

While she noted that the photographers appeared receptive, Kapoor acknowledged the issue runs deeper. “They seemed receptive, but the issue is larger—it’s about consumption. Globally, content that objectifies women is the most consumed. That’s why it keeps getting circulated. Since you’re a public figure in glamour, it happens more to you,” she explained.

Highlighting the importance of consent, she drew a distinction between performance and exploitation. “At every stage, you have to ask—what did I consent to? For example, I did a song called ‘Bheegi Saadi’, where I’m dancing sensually in a wet saree. That was meant to be sensual. If someone finds it attractive, that’s fine. But sexualising someone without consent is completely different—and I’m not okay with that.”

Kapoor further pointed out how visuals are often altered without her knowledge. “There are angles and ways things are shot or edited—zoomed, slowed down—without my knowledge. That’s not my consent. Even on film sets, if a camera is placed somewhere I’m not comfortable with, I should be able to say no without being seen as unprofessional,” she said, adding, “Earlier, I was more polite and picked my battles. Now I make my point more clearly—though still politely.”

The actress also addressed how such portrayals affect her career trajectory. “I can’t afford to stop caring, because these perceptions affect audiences, filmmakers, and the opportunities I get. If people keep seeing you in compromising visuals, they form a perception about your character. It’s wrong, but it happens,” she noted.

She added that these perceptions influence casting decisions as well. “Filmmakers also think this way. If they feel you’re already overly visible in a certain way, they might hesitate to cast you. Audience perception directly impacts casting decisions. It’s sad that people judge your values based on your clothes—but that’s the reality.”

Kapoor revealed that she has recently taken steps to limit her public visibility. “In the past couple of months, I’ve gone to great lengths to avoid being photographed. I had three releases back-to-back last year—I felt like people had seen too much of me.”

Despite not actively seeking media attention, she said the volume of content around her remains high. “People say actors call the media—I don’t, except for promotions. But there’s already so much content of me out there that it doesn’t feel like I’ve disappeared at all.”

Concluding her thoughts, Kapoor admitted that the fear of misuse continues to affect her. “I didn’t like how I was being consumed—because of AI, edits, and everything. Even when I post something now, I overthink—will this be misused or edited? I wish I could say I don’t care—but I do.”

For now, she believes caution is necessary. “Right now, I’m not in a position of power where I can completely ignore it. So, I’ll play it safe for now, until I build enough credibility to fully be myself without consequences,” she said.

Also Read: Janhvi Kapoor recalls disturbing early deepfake experience: “I saw a picture of myself on a porn site”

Janhvi Kapoor recalls disturbing early deepfake experience: “I saw a picture of myself on a porn site”

Actor Janhvi Kapoor has candidly spoken about her first encounter with manipulated imagery resembling deepfakes, recalling a deeply unsettling experience from her school days. Appearing on the Raj Shamani Podcast, the actress shared how the incident left a lasting impression on her and shaped her views on digital ethics and consent.

Reflecting on the episode, Kapoor said, “I don’t know if it was technically a deepfake, but it was something like that. I saw a picture of myself on a porn site. We had IT class in school, and the boys used to go on those sites for fun—and my pictures were there. This was while I was still in school. That was a weird experience.”

The actor admitted that the incident forced her to confront the darker realities of being in the public eye at a young age. “At some point, I thought, ‘Why? Is this just the price you have to pay?’ Like there’s no morality in these things. With social media, everyone is just putting things out there. If anything, this new ‘woke’ sensitivity has slightly corrected behaviour in terms of ethics and morality—but largely, it’s still a problem. A lot of people think it’s normal—‘This happens, you’re a public figure, so it will happen’,” she said.

Kapoor also expressed concern over the growing circulation of AI-generated visuals that misrepresent her. “I’m not at peace with it. There are visuals of me out there—circulated even by official news pages—that are completely AI-generated. I’ve never worn those things, I’ve never been photographed like that. But it’s circulated as if it’s real, creating a certain impression,” she revealed.

Highlighting the professional implications, she added, “Tomorrow, if I’m doing a film and I tell a director I’m not comfortable wearing something, they could say, ‘But you’ve already done this—people have seen it.’”

Despite her discomfort, Kapoor acknowledged the limitations she feels in speaking out. “It makes you question what the moral guidelines even are. It upsets me, of course. But I feel like I don’t have enough voice or credibility to complain about it. People might say, ‘You’ve got so much in life, just tolerate this. Don’t complain.’ So I don’t think my voice carries enough weight yet to address it without backlash. But it’s not just me—others have spoken about it too,” she concluded.

Her remarks add to the ongoing conversation around AI misuse, digital consent, and the urgent need for stronger ethical boundaries in the age of rapidly evolving technology.

Also Read: Janhvi Kapoor partners with Amaha to reframe alcohol addiction as a mental health condition, not a moral failing: “The conversation around alcohol is either absent or deeply judgmental”

EXCLUSIVE: Sonu Nigam remembers his iconic song ‘Kal Ho Naa Ho’ as ISAMRA distributes WHOPPING Rs. 100 cr in royalties to 26,000 singers; Anup Jalota gets emotional; Sanjay Tandon recalls journey from Rs. 51,000 to 100 cr

It was a joyous occasion for ISAMRA (Indian Singers And Musicians Rights Association) recently as they announced that they have distributed Rs. 100 crore in royalties to 26,000 singers and musicians. Bollywood Hungama spoke exclusively to the ones who fought bravely for the rights of the singers – the legendary Sonu Nigam and Anup Jalota and ISAMRA founder and MD, Sanjay Tandon.

Sonu Nigam said, “It feels like a quiet victory, not loud, not dramatic, but deeply meaningful. For years, the voice created value but did not always receive its share of that value. Today feels like a moment of correction. Not just for me, but for every singer who has given their soul to a song. It is a sense of dignity returning. The system has finally begun to listen.”

In June 2024, Sanjay Tandon revealed that ISAMRA had distributed its first royalty, Rs. 51,000, for the song ‘Lag Jaa Gale’ (Woh Kaun Thi; 1964). Explaining the journey from Rs. 51,000 to Rs. 100 crores, he replied, “That first royalty of Rs. 51,000 was a beginning, not just financially, but emotionally. It proved that performers’ rights could move from theory to reality. From there to Rs. 100 crore has been a journey of building from scratch. There was no ready data, no structured system, and no precedent. Just belief. Today, when we look back, it is not about the numbers alone. It is about restoring faith among singers and musicians that their contribution has value beyond applause (smiles).”

Anup Jalota, meanwhile, stated, “This is a very emotional moment. For years, singers have been the soul of music in this country, but their contribution was not always recognised in the way it should have been. Today feels like a long-awaited acknowledgement. It is not just financial, it is about respect, about dignity. It feels like a blessing.”

The AI factor  One of the immediate issues to be addressed is AI and how it can produce the voice of any singer. Sonu Nigam admitted, “AI is both exciting and concerning. It can enhance music, but it can also blur the identity of the artist. A voice is deeply personal; it carries emotion, years of training, and lived experience. If that can be replicated without consent, it becomes a serious issue. The way forward is awareness, strong legal frameworks, and organisations like ISAMRA stepping in to protect performers. Consent and compensation must become non-negotiable. Technology should support creativity, not exploit it.”

Sanjay Tandon agreed, “AI introduces both efficiency and risk. The biggest challenge is ownership. If a voice can be cloned or replicated, the question is who owns that usage. ISAMRA is actively working towards frameworks where any such use is governed by clear consent and fair compensation. The principle remains simple. If a voice generates value, the artist must receive that value. Technology cannot override rights.”

The way forward  Some more challenges also remain. Anup Jalota said, “Traditionally, singers have been paid for recording a song, but not for the life of that song. A song continues to live, to be heard, to generate value across platforms and generations. That value must come back to the singer. The way forward is awareness and stronger systems. Singers must understand their rights, and the industry must evolve to make royalties a standard practice. This change has begun, and it must now become the norm.”

Sanjay Tandon observed, “The focus now is on scale and inclusivity. We want every performer, whether a leading voice or a session musician, to be part of this ecosystem. Strengthening international partnerships, building a seamless one-window licensing system, and continuing to educate artists about their rights are key priorities. The journey ahead is about making this system stronger, wider, and more accessible.”

Musical end to the conversation On a lighter note, we asked Sonu Nigam which song he was reminded of on this momentous occasion of ISAMRA. The singer flashed his wonderful smile and said, “’Kal Ho Naa Ho’. There is a feeling in that song about valuing the present, about acknowledging what truly matters. This moment feels like that. Something that always belonged to singers is finally coming back to them. It’s emotional, but also very grounding.”

Also Read: Sonu Nigam, Sukhwinder Singh, Kailash Kher and Salim-Sulaiman to perform at Subhash Ghai’s Cadence Music Festival 2026

Ranveer Singh starrer Pralay is not an adaptation, reveals Hansal Mehta

Filmmaker Hansal Mehta has opened up about his upcoming project Pralay, starring Ranveer Singh. The film, which has been generating considerable curiosity, is set to explore a large-scale post-apocalyptic world—an idea that, according to Mehta, has been in development for quite some time.

Speaking about the origins of the project to The Hollywood Reporter, Mehta revealed that the concept was initially developed by filmmaker Jai Mehta, who had been working on it independently before Ranveer Singh came on board. "Jai had been working on this idea for a long time." He further explained how the collaboration took shape once Ranveer expressed interest in the concept, "When Ranveer saw his work, he reached out to him and then Jai pitched it to him. Once Ranveer said he liked the idea, we invested in developing it-helping Jai create the world he wants to present in the film."

Detailing the scale and ambition of Pralay, Mehta described it as a genre-defining project for Indian cinema. “Its a post-apocalyptic world that hasnt been attempted before at this scale in India. Development is not just about writing. It also includes ideas-how you shape them, how you visualise them, and how you eventually sell them to a third party, to a star or a studio. We've invested in building those ideas,” he further told the portal.

Addressing speculation about the film being inspired by existing literary works, Mehta firmly dismissed such claims, clarifying that the story is entirely original. "It's not an adaptation”, he added and continued, "Jay and Vishal Kapoor have written the original story. Further, I think a book like Blindness is not easily adapted to film. I had seen the 2008 film adaptation (starring Julianne Moore and Mark Ruffalo) and it wasn't great. Writers like Saramago or Salman Rushdie... I feel they are best experienced on paper. Their books lose all their magic when interpreted for cinema."

He also emphasised that the success of the film will largely depend on how convincingly its world is brought to life on screen. He shared, "The victory of Jai's film will depend on its immersive nature”. "How do you make a post-apocalyptic, dystopian world believable? To that end, we are working with some of the best talent from around the world. And we are trying to achieve it at a fraction of the cost in which Hollywood would have done it."

With its ambitious premise and focus on immersive storytelling, Pralay is shaping up to be a significant addition to the evolving landscape of high-concept cinema in India.

Also Read: Ranveer Singh to lead zombie thriller ‘Pralay’ as Hansal Mehta expands True Story Films slate

SCOOP: Sequel of Kangana Ranaut-starrer Queen likely to be titled Queen Forever

A few days ago, reports came in that the sequel to Kangana Ranaut’s iconic film, Queen (2014), is in the works. According to the article in Mid-Day, the film will be directed by Vikas Bahl, who also helmed the first part, and is set to go on floors in April. Bollywood Hungama has learned that the film won't be called Queen 2 and that the makers have a title in mind.

A source told Bollywood Hungama, “The makers had several options for the film’s title and the one that has really caught their eye is Queen Forever. If all goes well, this will be what the film will be called.”

The source continued, “The makers feel Queen Forever is the apt title and that it suits the film’s subject. They are expected to finalize it very soon and make an official announcement, hopefully before the film’s shoot begins.”

Bollywood Hungama has also learned that Amit Chandrra of Trigger Happy Entertainment will be producing Queen Forever. His banner, Trigger Happy Studios, earlier produced the Farhan Akhtar-starrer 120 Bahadur along with Excel Entertainment.

As per the Mid-Day story, in Queen’s sequel, Kangana Ranaut’s character, Rani, will not go to foreign shores. Instead, she’ll travel to different cities across India while also embarking on a journey of self-discovery.

About Queen Besides Kangana Ranaut, Queen also starred Rajkummar Rao, Lisa Haydon, Nayani Dixit and others. It was produced by Vikramaditya Motwane and Anurag Kashyap of Phantom Films, along with Viacom18 Motion Pictures, and told the story of a girl left devastated after her fiancé calls off their wedding at the last minute. Nevertheless, she decides to go on her honeymoon alone. How this trip transforms her life completely formed the rest of the film.

Queen emerged as a pathbreaking film and was loved for its subject, progressive theme, treatment, award-winning performance by Kangana Ranaut and music by Amit Trivedi. The film opened at just Rs. 1.75 crores and then went on to earn Rs. 61 crores in its lifetime through sheer word of mouth. It was also a rare film in the 2010s to collect more in Week 2 than in Week 1.

Also Read: Vicky Kaushal, Kangana Ranaut and others shower love on Dhurandhar franchise; applaud Aditya Dhar and his work