|National Film Award for Best First Non-Feature Film of a Director|
|National award for contributions to Short films|
|Awarded for||Best debutant directorial work for a short film of a year|
|Sponsored by||Directorate of Film Festivals|
|First awarded||1991 (Instituted in 1989)|
|Most recent winner||Feluda 50 Years Rays Detective|
|First winner||Bazar 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).
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.
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|
|Kamlabai|| • Marathi
|Reena Mohan||Reena 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.
|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.
|Bazar Sitaram||Hindi||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.
|A Little War||Hindi||FTII||Atanu Biswas||
For a restrained performances that its camera elicits.
|All Alone If Need Be||English||Amulya Kakati||Ranjit 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.
|Yeh Woh Sahar To Nahin||Hindi||FTII||Sudhakar Rao||
For its imaginative use of sound and visuals to capture the undercurrents of human response to outer tensions.
|Mizhavu – A Silent Drum Beat||English||P. D. Raphel||K. R. Subhash||
For its total and absorbing cinematic presentation of a unique and little-known percussion instrument.
|Repentance||Malayalam||Mohan Agashe for Films Division||Rajeev Raj||
For exploring new forms of cinematic expression and images.
(When Gods Depart)
|Tamil||Pradeep Kumar||Pradeep 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.
|Meena Jha||Hindi||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.
|Diary of a Housewife||Malayalam|| • Asha Joseph
• Vinod Sukumaran
For the innovative approach in narrating the pathos of a housewife who is waiting for her husband to return from war.
|Paramapatham||Tamil||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.
|Beyond or Within||English||P. T. M. Payyoli||Vinod Mankara|
For its balanced exploration through an informative documentary on the ancient occult science and practice of the controversial Mantravada.
|An Encounter with a Life Living|| • Hindi
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.
|Ek Sagar Kinaree... A Seaside Story|| • Marathi
|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.
|John and Jane||English||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.
|Andhiyum||Malayalam||N. Dinesh Rajkumar||Jacob Varghese||
For displaying command over the medium that goes far beyond the level expected from a first film.
|Lal Juto||Bengali||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.
|Vitthal||Marathi|| • Vinoo Choliparambil
• Manu Pushpendran
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.
|Vaishnav Jan Toh||Hindi||FTII||Kaushal Oza||
For sensitive handling of a thought provoking film that reflects the strength of nonviolence and Gandhian values – so relevant even today.
|Ekti Kaktaliyo Golpo||Bengali||FTII||Tathagata Singha|
For a promising debut showing imagination and flair to weave a tale of fantasy.
|Pistulya|| • Marathi
|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.
|The Silent Poet||Meitei||Borun Thokchom||Borun 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.
|Eka Gachha Eka Manisa Eka Samudra||Oriya||Veenu Bhushan Vaid||Lipika 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.
|Kanyaka||Malayalam||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.
|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.
|Daaravtha||Marathi||Nishantroy Bombarde||Nishantroy Bombarde||
A stepping stone towards reinventing the age old shackles of society.
|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.
|Water Baby||Varun Shah||Pia Shah||
A sensitive portrayal of adolescent fears and aspirations, displaying promising directorial talent.
|Feluda 50 Years Rays Detective||Sagnik Chatterjee||Sagnik Chatterjee||
For springing to life and celebrating Satyajit Ray's most popular fictional character, with depth and aesthetic, across varied media.