|National Film Award for Best Feature Film in Assamese|
|National award for contributions to Indian Cinema|
|Awarded for||Best Assamese Feature Film(s) of the year|
|Sponsored by||Directorate of Film Festivals|
|Formerly called||President's Silver Medal for Best Feature Film in Assamese (1955–1968)|
|Most recent winner||Bridge|
|First winner||Piyali Phukan|
The National Film Award for Best Feature Film in Assamese 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 Rajat Kamal (Silver Lotus).
The National Film Awards, established in 1954, are the most prominent film awards in India that merit the best of the Indian cinema. The ceremony also presents awards for films in various regional languages.
Awards for films in seven regional language (Bengali, Hindi, Kannada, Malayalam, Marathi, Tamil and Telugu) started from 2nd National Film Awards which were presented in 1955. Three awards of "President's Silver Medal for Best Feature Film", "Certificate of Merit for the Second Best Feature Film" and "Certificate of Merit for the Third Best Feature Film" were instituted. The later two certificate awards were discontinued from 15th National Film Awards (1967).
The films made in Assamese language were not considered until the 3rd National Film Awards ceremony held in September 1956. However, only Certificate of Merit was issued in this ceremony as no film was found suitable for the "President's Silver Medal". The 1955 Phani Sarma directorial film Piyali Phukan received the first Certificate of Merit. Later in the 6th National Film Awards the 1958 film Ronga Police, directed by Nip Barua, became the first film to receive the president's silver medal for Best Feature Film in Assamese.
Award includes 'Rajat Kamal' (Silver Lotus Award) and cash prize. Following are the award winners over the years:
|President's Silver Medal for Best Feature Film|
|Certificate of Merit for the Best Feature Film|
|List of award films, showing the year (award ceremony), producer(s), director(s) and citation|
|Piyali Phukan||Rupajyoti Productions||Phani Sarma||–|
|Maak Aru Morom||Brajen Barua||Nip Barua||–|||
|Ronga Police||Kanak Ch. Sharma||Nip Barua||–|||
|Puberun|| • K. C. Roy
• Paji Doss
|Shakuntala||Kamrup Chitra||Bhupen Hazarika||–|||
|Tezimola||Anwar Hussain||Anwar Husaain||–|||
|Maniram Devan||Apurba Chowdhury||S. Chakravarty||–|||
|Pratidhwani||Kamrup Chitra||Bhupen Hazarika||–|||
|Dr. Bezbarua||M/s Rangghar Cine Productions||Brajen Baruah||–|||
|Aranya||United Productions||Samarendra Narayan Deb||–|||
|Opaja Sonar Mati||M/s Pragati Cine Productions||Brajen Barua||–|||
|Mamta|| • Nalin Dowerah
• Prafulla Dutta
• Shiba Thakur
|Chameli Memsaab||M/s. Seuj Bolechari Santha||Abdul Majid||–|||
|Putala Ghor||Samarendra Narayan Dev||–|
|Sandhyarag||Bhabendra Nath Saikia||Bhabendra Nath Saikia||
For investing a simple, almost uneventful story with tragic poignancies, for presenting the intense loneliness and sense of longing of the individual uprooted from village life by eternal economic pressures and cast back into the stagnation and grinding poverty of rural existence by a society which, having used him up; now discards him; for portraying the characters with subtlety and insight and a quiet wry humour lacerating in its irony — all this through actors facing the camera for the first time.
|Anirban||Preeti Saikia||Bhabendra Nath Saikia||
For depicting man's attachment to life through the story of an unfortunate married couple, through severe agony and funeral pyres, for providing a touch of realism by a delicate representation of a piece of lower middle class existence.
|Aparoopa||Jahnu Barua||Jahnu Barua||
For its deeply felt and controlled study of life in a village.
|Alokar Ahban||Do-Re-Me Films||Kamal Hazarika||
For a realistic presentation of the theme of rural co-operatives in the handloom industry of Assam.
|Son Maina|| • R. B. Mehta
• M. P. N. Nair
• Shiv Prasad Thakur
|Shiv Prasad Thakur||–|||
|Agnisnaan||Bhabendra Nath Saikia||Bhabendra Nath Saikia||
For a powerful film based on a well-known Assamese novel, portraying the ordeals of a woman who revolts and finally overcomes.
|Baan||Do-Re-Me Films||Charu Kamal Hazarika||
For its incisive comment on the post-independence establishment in a flood-prone region.
|Pratham Ragini||S. N. Bora||Dhiru Bhuyan||
For significant achievement as a first film in a region still young in cinema and for the portrayal of a young girl's courage and optimism in the face of great adversity and personal tragedy.
|Kolahal||Bhabendra Nath Saikia||Bhabendra Nath Saikia||
For taking up the bold theme of the struggle of a deserted woman caught between convection and the desire to live.
|Jooj||Bipul Baruah||Hemen Das||
For attempting to portray, with conviction, the earthy realism in the field of social differences.
|Sarothi||Bhabendra Nath Saikia||Bhabendra Nath Saikia||
For the suggestive and sympathetic portrayal of the breadwinner of a middle-class family who stands alone and isolated even in his own home.
|Railor Alir Dubori Ban||Pulak Gogoi||Pulak Gogoi||
For its innovative style in putting across the tragedy of the exploited poor and portraying their agony and helplessness in a poignant manner.
|Abartan||Bhabendra Nath Saikia||Bhabendra Nath Saikia||
For a successful experiment in the dramatic technique of a play-within-a-play to reveal the relationship of appearances to reality.
|Xagoroloi Bohudoor|| • Sailadhar Baruah
• Jahnu Barua
For the filmmaker's ability to tell a complex tale with minimal canvas, handling the medium with control, restraint and extraordinary sensitivity.
|Itihaas||Leena Bora||Bhabendra Nath Saikia||
For its able depiction of complexity of life brought about by urbanisation.
|Adajya||Nayan Prasad||Santwana Bardoloi||
For a subtle and sensitive exploration of loneliness trauma and coverage of 3 widows caught in the complex web of ritualistic beliefs.
|Kuhkal||Dolphin Communications||Jahnu Barua||
For its authentic portrayal of a historical event of British India.
|Pokhi||Dolphin Communications||Jahnu Barua||
For beautifully structured film centred around the turmoil in the life of an orphan the film finely balances the demands of characterisation, perform-ance and storytelling to focus attention on the role played by the child in bringing about an attitudinal change in a selfish money lender.
|Konikar Ramdhenu||Sailadhar Baruah||Jahnu Barua||
For its sensitive portrayal of child abuse.
|Akashitarar Kathare||Sangeeta Tamuli||Manju Borah||
For its juxtaposition of a woman's search for her cultural heritage and its loss.
|Dinabandhoo||Krishna Roy||Munin Barua||
For a human struggle against circumstances, mainly because of dowry as well as social status.
|Kadamtole Krishna Nache||Suman Haripriya||Suman Haripriya||
For its attempt at preserving the dying culture and traditions of Assam.
|Aaideu||Nabomika Borthakur||Arup Manna||
For highlighting a lesser known, pioneering heroine of Indian cinema.
|Mon Jaai||Moirangthem Movies||M. Maniram||
For its honest exploration of ethical values confronting the youth.
|Basundhara||Hiren Bora||Hiren Bora||
For dealing with a pressing, contemporary ecological issue with sincerity.
|Jetuka Pator Dore||Md. Noorul Sultan||Jadumoni Dutta||
For a heart-warming portrayal of the rural landscape with an emphasis on the need for self-reliance in the process of development.
|Baandhon||Assam State Film (Finance and Development) Corporation Ltd.||Jahnu Barua||
The lives of a garrulous and nitpicking, yet loving old couple and their inability to come to terms with the tragic loss of their only grandson on 26/11/2008, forms the subject matter of this compelling film.
|Ajeyo||Shiven Arts||Jahnu Barua||
The story of a boy who stands up against in pre-independent India and hopes for rule of law in independent India. But his hopes are all but shattered by happenings later on.
|Othello||Artha Films||Hemanta Kumar Das||
For its tangential evocation of the Shakespeare play as it explores mistrust and prejudice in a society ridden with political turmoil.
|Kothanodi||Anurupa Hazarika||Bhaskar Hazarika||
A stylised, poetic film interweaving four folk stories, evoking the terrifying undercurrents of human mind as depicted in folk mythology.
|Maj Rati Keteki||Udara Films||Santwana Bardoloi||
It showcases how past affects the present if not by choice then by chance.
|Ishu||Children's Film Society||Utpal Borpujari||–|
|Bulbul Can Sing||Flying River Films||Rima Das||
For capturing the trials, tribulations and aspirations of a group of teenagers in rural Assamese backdrop.
|Ronuwa: Who Never Surrender||Bornali Creative Vision Entertainment||Chandra Mudoi||
For creating completely new and eye-pleasing dance steps while taking the story forward.
|Bridge||Sabita Devi||Kripal Kalita||
A teenage girl residing at the banks on the river find an unusual struggle and empowerment without a bridge to their village.