Nimrat Kaur

Nimrat Kaur  Nimrat Kaur is an Indian actress. She began her career as a print model and went on to act in theater. After brief appearances in a few films, Kaur starred in Anurag Kashyap's production Peddlers, which was screened at the 2012 Cannes Film Festival. 
Shazahn Padamsee

Shazahn PadamseeShazahn Padamsee is an Indian film and stage actress, who has also worked as model. Daughter of noted actors Alyque Padamsee and Sharon Prabhakar, she made her first film appearance in the 2009 Hindi film Rocket Singh: Salesman of the Year.
Sana Khaan

Sana KhaanSana Khan is a former Indian actress, model and dancer. Khan began her career in modelling and went on to appear in advertisements and feature films.
Neha Sharma

Neha SharmaNeha Sharma is an Indian actress and model. A native of Bihar, Sharma attended the Mount Carmel School in Bhagalpur and pursued a course in fashion design from the National Institute of Fashion Technology in New Delhi. Sharma's first role was in the Telugu film Chirutha, released on September 28, 2007.
Zarine Khan

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Bhumika Chawla

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Sneha Ullal

Sneha UllalSneha Ullal is an Indian-Omani film actress who has appeared in Tollywood and Bollywood movies. She is best known for her appearance in the Telugu movies Ullasamga Utsahamga, Simha and Hindi movie Lucky: No Time for Love. Sneha Ullal was born in Muscat, Oman, a Tulu-speaking father from Mangalore, and a Sindhi mother. She studied at Wadi Kabir Indian School and Salalah Indian School in Oman. She moved to Mumbai with her mother and attended the Durelo Convent High School and studied at Vartak College. She lives in Delhi. Ullal made her film debut in the 2005 Hindi movie Lucky: No Time for Love in front of Salman Khan. After the film, she was noted for her striking similarities in appearance with Aishwarya Rai. She later said that while the comparison didn't benefit her as an actress, it gave her a lot of recognition. Ullal then appeared in Aryan with Sohail Khan's uncle, who didn't do well in the box office. Fearing that she was too young and wanted to be more mature to work in film, she took a break from Bollywood. She made her debut in Telugu movies with Ullasamga Utsahamga, which turned out to be a great success. Nenu Meeku Telusa, isn't it? It was her second release in Telugu. It was followed by a play on the song Nuvvu ready for the Telugu film King in front of Nagarjuna. In 2007, the prolific horror filmmaker and character actor Steg Dorr appeared in Pirate's Blood. In interviews, Dorr would say, "We cancelled them because of the hurricane. We couldn't get it moving and the funding went through." The role was later played by Oman actress Maimoon Al-Balushi. Further on, she signed Kaashh ... Mere Hote reveals that she's still interested in Hindi film. Her next few films didn't do well in the box office, but her 2010 release Simha in front of Balakrishna turned out to be a blockbuster.
Sonnalli Seygall

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Nushrat Bharucha

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Vaani Kapoor

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Amrita Arora

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Daisy Shah

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Esha Deol

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Ameesha Patel

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Celina Jaitly

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Genelia DSouza

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Aarti Chabria

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Shriya Saran

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Isha Koppikar

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Riya Sen

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Kim Sharma

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Minissha Lamba

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Neha Dhupia

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Yami Gautam

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Parineeti Chopra

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Mallika Sherawat

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Asin

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Nargis Fakhri

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Sonakshi Sinha

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Shraddha Kapoor

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Bollywood Actresses list with photos

Actress is a term used interchangeably with "actor" for a female performer in films, plays, radio and TV.
In this webpage, we made the list of bollywood actress.
Bollywood :
Hindi cinema, often known as Bollywood and formerly as Bombay cinema, is the Indian Hindi-language film industry based in Mumbai (formerly Bombay). The term is a portmanteau of "Bombay" and "Hollywood". The industry is related to Tamil film industry (Kollywood), Telugu film industry (Tollywood) and other industries, making up Indian Cinema – the world's largest.

Indian cinema is the world's largest film industry in film production, with an annual output of 1,986 feature films in 2017. Bollywood is its largest film producer, with 364 Hindi films produced in 2017. Bollywood represents 43 percent of Indian net box-office revenue; Tamil and Telugu cinema represent 36 percent, and the remaining regional cinema constituted 21 percent in 2014. Bollywood is one of the largest centres of film production in the world. In 2001 ticket sales, Indian cinema (including Bollywood) reportedly sold an estimated 3.6 billion tickets worldwide, compared to Hollywood's 2.6 billion tickets sold. Bollywood films tend to use a colloquial dialect of Hindi-Urdu (or Hindustani), mutually intelligible by Hindi and Urdu speakers, and modern Bollywood films increasingly incorporate elements of Hinglish.

Influence of Bollywood :
Perhaps Bollywood's greatest influence has been on India's national identity, where (with the rest of Indian cinema) it has become part of the "Indian story".In India, Bollywood is often associated with India's national identity. According to economist and Bollywood biographer Meghnad Desai, "Cinema actually has been the most vibrant medium for telling India its own story, the story of its struggle for independence, its constant struggle to achieve national integration and to emerge as a global presence".

Scholar Brigitte Schulze has written that Indian films, most notably Mehboob Khan's Mother India (1957), played a key role in shaping the Republic of India's national identity in the early years after independence from the British Raj; the film conveyed a sense of Indian nationalism to urban and rural citizens alike. Bollywood has long influenced Indian society and culture as the biggest entertainment industry; many of the country's musical, dancing, wedding and fashion trends are Bollywood-inspired. Bollywood fashion trendsetters have included Madhubala in Mughal-e-Azam (1960) and Madhuri Dixit in Hum Aapke Hain Koun..! (1994).

Bollywood has also had a socio-political impact on Indian society, reflecting Indian politics. In classic 1970s Bollywood films, Bombay underworld crime films written by Salim-Javed and starring Amitabh Bachchan such as Zanjeer (1973) and Deewaar (1975) reflected the socio-economic and socio-political realities of contemporary India. They channeled growing popular discontent and disillusionment and state failure to ensure welfare and well-being at a time of inflation, shortages, loss of confidence in public institutions, increasing crime and the unprecedented growth of slums. Salim-Javed and Bachchan's films dealt with urban poverty, corruption and organised crime; they were perceived by audiences as anti-establishment, often with an "angry young man" protagonist presented as a vigilante or anti-hero whose suppressed rage voiced the anguish of the urban poor.