|Nargis Dutt Award for Best Feature Film on National Integration|
|National award for contributions to Indian Cinema|
|Sponsored by||Directorate of Film Festivals|
|Formerly called||Best Feature Film on National Unity and Emotional Integration|
|Most recent winner||Taj Mahal|
The Nargis Dutt Award for Best Feature Film on National Integration is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organization set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Rajat Kamal (Silver Lotus).
The award was instituted in 1965, at 13th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages.
Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:
|List of films, showing the year (award ceremony), language(s), producer(s), director(s) and citation|
|Shaheed||Hindi||Kewal Kashyap||S. Ram Sharma||–|||
|Subhash Chandra||Bengali||A. K. Banerjee||Piyush Bose||–|||
|Janmabhoomi||Malayalam||Roopa Rekha||John Sankaramangalam||–|||
|Saat Hindustani||Hindi||Khwaja Ahmad Abbas||Khwaja Ahmad Abbas||–|||
|Thurakkatha Vathil||Malayalam||A. Raghunath||P. Bhaskaran||–|||
|Do Boond Pani||Hindi||Khwaja Ahmad Abbas||Khwaja Ahmad Abbas||–|
|Achanum Bappayum||Malayalam||C. C. Baby||K. S. Sethumadhavan||–|||
|Garm Hava[a]||Hindi||Unit 3 MM||M. S. Sathyu||–|||
|Parinay[b]||Hindi||Samantar Chitra||Kantilal Rathod||–|||
|Grahana||Kannada||Harsha Pictures||T. S. Nagabharana||
For an honest and bold depiction of caste conflict in rural India. The film starkly brings out the traditional beliefs which grip the entire rural society including the down-trodden putting an extra chain on the poor in addition to their economic helplessness. Cinematically a very powerful film.
|22 June 1897||Marathi|| • Nachiket Patwardhan
• Jayoo Patwardhan
| • Nachiket Patwardhan
• Jayoo Patwardhan
|Bhavni Bhavai||Gujarati||Sanchar Film Cooperative Society Ltd.||Ketan Mehta||
For tracing the history of social evil of untouchability through popular folk drama form, for synthesizing diverse performing arts into socially relevant communication, for depicting the untouchable's fight for their rights.
|Saptapadi||Telugu||Bheemavarapu Buchhireddy||K. Viswanath||
For focusing on the problems of the society whose orthodoxy inflicts grave injustice on the under-privileged, for the dilemma faced by a Brahmin disciplinarian in confronting his grand-daughter's love for Harijan, for resolving the problem in a rational manner, worthy of the country's best secular traditions.
|Aaroodam||Malayalam||Rosamma George||I. V. Sasi||
For its compassionate treatment of the plight of the under-privileged.
|Sookha||Hindi||M. S. Sathyu||M. S. Sathyu||
For its sincerity in the portrayal of basic human values that unify mankind.
|Aadmi Aur Aurat||Hindi||Doordarshan||Tapan Sinha||–|||
|Sree Narayana Guru||Malayalam||A. Jaffer||P. A. Backer||
For preaching, through the life of a great reformer, the universal values of "One Caste, One Religion and One God for Man".
|Tamas||Hindi||Blaze Entertainment||Govind Nihalani||
For recreating without compromise the tragic events leading to the communal holocaust at the eve of partition in a Punjab village.
|Rudraveena||Telugu||Nagendra Babu||K. Balachander||
For presenting vertical as well as horizontal social integration on a musical plane and thus offering a cultural revolution as solution to maladies of the rural population.
|Santha Shishunala Sharifa||Kannada||Yajaman Enterprises||T. S. Nagabharana||
For its depiction of unity of religions at the popular mystical level illustrated by the life and lyrics of a famous Muslim saint who has a Hindu guru.
|Aadi Mimansa||Oriya||Apurba Kishore Bir||Apurba Kishore Bir||
For its strong appeal for integration and upholding of human values brought about through a remarkbly understated treatment of incidents from everyday life.
|Roja||Tamil||Kavithalayaa Productions||Mani Ratnam||
For presenting a thrilling drama of the abduction of an Indian scientist by a self-proclaimed liberation army which later realises the futility of its anti-social activities.
|Sardar||Hindi||Late H. M. Patel||Ketan Mehta||
For presenting a panoramic view of India in a period of transition to reveal the goals of nationalism by the integration of a mass disparate materials and shaping them into a coherent saga of Indian nationalism in an epic style.
|Mukta||Marathi||Ashok B. Mhatre||Jabbar Patel||
For mapping a sharply defined dramatic style on to a canvas of national caste oppression and for unversalising the alliances of the Indian Dalit people.
|Bombay||Tamil|| • Mani Ratnam
• S. Sriram
For its bold and sensitive approach to the problem of communal divide and for bringing out the futility of the carnage in the name of religion.
|Kaanaakkinaavu||Malayalam||P. V. Gangadharan||Sibi Malayil||
For its brilliant and bold approach to National Integration and the futility of division in the name of religion.
|Border||Hindi||J. P. Dutta||J. P. Dutta||
For making an honest statement on patriotism, portraying the gallantry and sacrifies of the Armed forces, thereby instilling a sense of National pride.
|Zakhm||Hindi||Pooja Bhatt||Mahesh Bhatt||
For boldly dealing with social and religious strife, communal tensions, violence and disharmony in contemporary times. The film has a message of love and peace that is conveyed in a sensitive way.
|Shaheed Udham Singh||Punjabi||Iqbal Dhillon||Chitraarth||
For opening a new window to the Jallianwala Bagh episode, which had jolted the conscience of the Indian people.
|Pukar||Hindi||Surinder Kapoor||Rajkumar Santoshi||
For tackling the problem of terrorist infiltrations and the army's counter attacks. And situations where armed and civilian forces unite against the common external enemy.
For exploring the problems of a minority in the face of terrorist activities of forces across the border. Against this macro scenario, the film weaves together more intimate micro stories particularly of the bonding between a sensitive bureaucrat and an orphaned boy.
|Mr. and Mrs. Iyer||English||N. Venkatesan||Aparna Sen||
For its humane depiction of the bonding between two individuals of different religious backgrounds in the midst of communal tension.
|Pinjar||Hindi||Lucky Star Entertainment Ltd||Chandraprakash Dwivedi||
For exploring the power of human relationships in overcoming social and religious schisms.
|Netaji Subhas Chandra Bose: The Forgotten Hero||Hindi||Sahara India Media Communication Ltd.||Shyam Benegal||
Netaji is one of the most controversial and colourful figures of modern Indian history. His struggle to fight the Britishers and bring the Indians together to do this. The idealistic dreamer turns into a revolutionary to achieve his goal. The film effectively brings alive the era.
For the powerful representation of a burning communal issue highlighting the plight of women in the times of religious intolerence.
|Kallarali Hoovagi||Kannada||S. Madhu Bangarappa||T. S. Nagabharana||
For depicting the sanctity of loyalty to one's land and amity through a love story set in the times of Hyder Ali.
|Dharm||Hindi||Sheetal V. Talwar||Bhavna Talwar||
For powerfully bringing forth the message that humanity is of much greater value than religion. The transformation of an orthodox and superstitious priest is very beautifully depicted.
|Aai Kot Nai||Assamese||Rajen Bora||Manju Borah||
For its honest look at a burning problem in Northeast India, its attempt to break down artificial boundaries and giving it a human and aesthetic appeal.
|Delhi-6||Hindi||Rakeysh Omprakash Mehra||Rakeysh Omprakash Mehra||
For its uncompromising stance towards communal divide and offering a humanistic solution of taking individual responsibility.
|Moner Manush||Bengali||Gautam Kundu||Gautam Ghose||
For celebrating the union of the human spirit through the life and song of Sufi poets in the Baul tradition.
|Thanichalla Njan||Malayalam||Cherian Philippose||Babu Thiruvalla||
A tale of communal harmony narrated through an in-house milieu. The bonding between a Hindu and a Muslim lady in a reciprocally accommodating relationship forms the crux of the film.
|Thalaimuraigal||Tamil||Company Productions||Balu Mahendra||
A sensitive tale about the breaking of walls of orthodoxy and religious and linguistic bias in a small village in Tamil Nadu. Love and compassion of a small boy and his mother wins over not only their own blood but the whole rural community.
|Nanak Shah Fakir||Punjabi||Sartaj Singh Pannu||–||
The saga on the life of the great spiritual master advocating the values of peace and harmony.
|Dikchow Banat Palaax||Assamese||Canvascope||Sanjib Sabha Pandit||
The film brings out oneness of our feelings amidst differences.
|Dhappa||Marathi||Sumatilal Popatlal Shah||Nipun Dharmadhikari|||
|Ondalla Eradalla||Kannada||DN Cinemas||D. Satya Prakash||
The film tries to break political and religious divide through the eye of a child.
|Taj Mahal||Marathi||Tuline Studios Pvt. Ltd.||Niyaz Mujawar||
The film stresses on the concept of love, symbolised by the Taj Mahal, taking over violence in whatever form it appears.