National Film Award for Best First Non-Feature Film of a Director

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National Film Award for Best First Non-Feature Film of a Director
National award for contributions to Short films
Awarded forBest debutant directorial work for a short film of a year
Sponsored by Directorate of Film Festivals
Reward(s)
  • Rajat Kamal (Silver Lotus)
  • 75,000 (US$1,100)
First awarded1991 (Instituted in 1989)
Last awarded2018
Most recent winnerFeluda 50 Years Rays Detective
Highlights
Total awarded29
First winnerBazar Sitaram

The National Film Award for Best First Non-Feature Film of a Director is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Silver Lotus (Rajat Kamal).

Contents

The award was instituted in 1989, at 37th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages.

Winners

Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:

Indicates a joint award for that year
List of award recipients, showing the year, film(s), language(s), producer(s), director(s) and citation
YearFilm(s)Language(s)Producer(s)Director(s)CitationRefs.
1991
(39th)
Kamlabai  Marathi
  Hindi
Reena MohanReena Mohan
The director has presented a sensitive and heartwarming portrait of a remarkable woman who was the first lady of the Indian screen and a versatile stage actress.
[1]
1992
(40th)
Knock-Out Tamil B. Lenin B. Lenin
The director has given us a powerful insight into the labyrinth of the human mind faced with a disaster situation.
[2]
1993
(41st)
Bazar SitaramHindi Neena Gupta for Films Division Neena Gupta
For presenting a delicate and sensitive portrayal of the culture, traditions and milieu of Old Delhi as a personalised experience.
[3]
1994
(42nd)
A Little WarHindi FTII Atanu Biswas
For a restrained performances that its camera elicits.
[4]
1995
(43rd)
All Alone If Need BeEnglishAmulya KakatiRanjit Das
For a sensitive portrayal of Shri Sarat Chandra Sinha, simple upright man of principles with uncompromising integrity and human qualities both in his personal and public life.
[5]
1996
(44th)
Yeh Woh Sahar To NahinHindiFTIISudhakar Rao
For its imaginative use of sound and visuals to capture the undercurrents of human response to outer tensions.
[6]
1997
(45th)
Mizhavu – A Silent Drum BeatEnglishP. D. RaphelK. R. Subhash
For its total and absorbing cinematic presentation of a unique and little-known percussion instrument.
[7]
1998
(46th)
Repentance Malayalam Mohan Agashe for Films DivisionRajeev Raj
For exploring new forms of cinematic expression and images.
[8]
1999
(47th)
Deivangal Padiyirangumbol
(When Gods Depart)
TamilPradeep KumarPradeep Kumar
For its objective and well-researched point of view on the lives of tribes in the Wayanad region; it captures their fragile existence cause in the process of change.
[9]
2000
(48th)
Meena JhaHindi Satyajit Ray Film and Television Institute Anjalika Sharma
For its innovative approach in narrating a story of adolescent human experiences, treated in a stylised manner.
[10]
2001
(49th)
Diary of a Housewife Malayalam Asha Joseph
  Vinod Sukumaran
Vinod Sukumaran
For the innovative approach in narrating the pathos of a housewife who is waiting for her husband to return from war.
[11]
2002
(50th)
ParamapathamTamil Film and Television Institute of Tamil Nadu Prabhu Radhakrishnan
For displaying a mature control of film form and weaves a taught, powerful and short narrative fiction to tell the story of a sculptor as the unanswered questions of his life unfold.
[12]
Beyond or WithinEnglishP. T. M. Payyoli Vinod Mankara
For its balanced exploration through an informative documentary on the ancient occult science and practice of the controversial Mantravada.
2003
(51st)
An Encounter with a Life Living Hindi
 English
Vinu Abraham Suja
For depicting the plight of a physically incapacitated Sarasu and her cheerful will to live. The director achieves this bringing out the totality, spiritual richness of a "life lived only in the mind" – through an innovative narrative idiom.
[13]
2004
(52nd)
Ek Sagar Kinaree... A Seaside Story Marathi
 English
Gomantak Marathi Academy Laxmikant Shetgaonkar
For handling the simple and delicate relationship between ordinary human beings in a very profound evocative and enterprising manner, within a commercialised compulsive atmosphere.
[14]
2005
(53rd)
John and JaneEnglish Ashim Ahluwalia Ashim Ahluwalia
For an evocative film capturing the essence of call centres in urban India, its pressures and the dualities of life in this new reality.
[15]
2006
(54th)
AndhiyumMalayalamN. Dinesh Rajkumar Jacob Varghese
For displaying command over the medium that goes far beyond the level expected from a first film.
[16]
2007
(55th)
Lal JutoBengali Satyajit Ray Film and Television Institute Shweta Merchant
For its conventional handling of a renowned literary text. The element of surprise is presented in an effortless manner, spontaneous and full of miraculous madness.
[17]
2008
(56th)
VitthalMarathi Vinoo Choliparambil
 Manu Pushpendran
Vinoo Choliparambil
For a sensitive portrayal of the latent violence building up in a child against the ritualistic social norms which are forced on him. The filmmaker demonstrates maturity and dexterity in handling the script and the actors, bringing out the complexity of a child’s mind trapped in a world of adults.
[18]
2009
(57th)
Vaishnav Jan TohHindiFTIIKaushal Oza
For sensitive handling of a thought provoking film that reflects the strength of nonviolence and Gandhian values – so relevant even today.
[19]
Ekti Kaktaliyo Golpo Bengali FTIITathagata Singha
For a promising debut showing imagination and flair to weave a tale of fantasy.
2010
(58th)
Pistulya  Marathi
  Telugu
Nagraj Manjule Nagraj Manjule
For a delightful exposition of the poignant life of a poverty-stricken child, who nurtures a dream of embracing the source of learning through education, with simplicity and fluency. The director portrays the spirit of adventure of the child, through fine performances.
[20]
2011
(59th)
The Silent Poet Meitei Borun ThokchomBorun Thokchom
For depicting in his very first film in a simple yet poignant cinematic language the struggle and dilemma faced by ordinary citizens in North east India through the evocative poetry of Irom Sharmila the icon of non-violent resistance.
[21]
2012
(60th)
Eka Gachha Eka Manisa Eka Samudra Oriya Veenu Bhushan VaidLipika Singh Darai
For its gentle and strongly evocative recalling of the memory of a childhood music teacher, expressed without nostalgia, communicating a deep loving respect in a form that is poetic and intimate, with an unassuming confidence remarkable for a first film.
[22]
2013
(61st)
KanyakaMalayalam Satyajit Ray Film and Television Institute Christo Tomy
For its wholly convincing mise-en-scene set in a convent run by Malayali nuns, wherein the grief and guilt of the young protagonist is presented in a manner that leaves a lot to the imagination of the viewer.
[23]
2014
(62nd)
Goonga Pehelwan Drishti Media Mit Jani
 Prateek Gupta
 Vivek Chaudhary
For its fun, yet mature portrayal of its protagonist, a champion at the Deaf Olympics. It pointedly questions the politics that impede this capable athlete’s route to the Rio Olympics.
[24]
2015
(63rd)
DaaravthaMarathiNishantroy BombardeNishantroy Bombarde
A stepping stone towards reinventing the age old shackles of society.
[25]
2016
(64th)
Soz...A Ballad of Maladies Rajiv Mehrotra Tushar Madhav
A Brave And Refreshing Approach To Look At Complex Political Issues Weaved Beautifully Through Music And Poetry.
[26]
2017
(65th)
Water BabyVarun ShahPia Shah
A sensitive portrayal of adolescent fears and aspirations, displaying promising directorial talent.
2018
(66th)
Feluda 50 Years Rays DetectiveSagnik ChatterjeeSagnik Chatterjee
For springing to life and celebrating Satyajit Ray’s most popular fictional character, with depth and aesthetic, across varied media.

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References

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