Indira Gandhi Award for Best First Film of a Director

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The Indira Gandhi Award for Best First Film of a Director 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 Golden Lotus (Swarna Kamal).

The award was instituted in 1980, at 28th National Film Awards[1] and awarded annually for films produced in the year across the country, in all Indian languages.

Award includes 'Golden Lotus Award' (Swarna Kamal) and cash prize. Award, sometimes, also be given as Indira Gandhi Award for Best Debut Film of A Director. Following are the award winners over the years:

Winners

Indicates a joint award for that year
List of award films, showing the year (award ceremony), language(s), producer(s), director(s) and citation
Year Film(s) Language(s) Producer(s) Director(s) Citation
1980
(28th)		 Maina Tadanta[1] Bengali  – Utpalendu Chakrabarty <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting with realistic vigor the exploitation perpetrated on the tribal and the landless, for portraying the spirited fight of the downtrodden and for showing great maturity in the conception and presentation of the theme in this maiden venture.
1981
(29th)		 Aadharshila[2] Hindi  – Ashok Ahuja <templatestyles src="Template:Hidden begin/styles.css"/>
For making a bold statement on the aspirations and frustrations of the young generation of film-makers he himself represents and for a very sensitive treatment of the relationship between an idealist director and an inscrutable story-write.
1982
(30th)		 Kann Sivanthaal Mann Sivakkum[3] Tamil  – Sreedhar Rajan <templatestyles src="Template:Hidden begin/styles.css"/>
For its original interpretation of a deep-rooted social evil, combining folk art with modern cinematic idiom.
1983
(31st)		 Jaane Bhi Do Yaaro[4] Hindi  – Kundan Shah <templatestyles src="Template:Hidden begin/styles.css"/>
For its treatment of contemporary theme with wit and humour.
1984
(32nd)		 Meendum Oru Kaathal Kathai[5] Tamil Radhika Pothan Prathap K. Pothan  –
1985
(33rd)		 New Delhi Times[6] Hindi P. K. Tiwari Romesh Sharma <templatestyles src="Template:Hidden begin/styles.css"/>
For a bold exposure of a murky world of politics where murder and mayhem are engineered for personal gains and truth becomes a casualty.
1986
(34th)		 Yeh Woh Manzil To Nahin[7] Hindi Sudhir Mishra Sudhir Mishra <templatestyles src="Template:Hidden begin/styles.css"/>
For an incisive analysis of history as seen through the eyes of three elderly freedom fighters and its impact on their stand against social injustice in contemporary times.
1987
(35th)		 Ekti Jiban[8] Bengali Chalchitra Raja Mitra <templatestyles src="Template:Hidden begin/styles.css"/>
For a very courageous first attempt of a director in tackling the subject of an individual unwavering in his conviction in the cultural value of his language and single handly making available its enriching value to the generation of his people who will come after him.
1988
(36th)		 Trishagni[9] Hindi Nabendu Ghosh Nabendu Ghosh <templatestyles src="Template:Hidden begin/styles.css"/>
For excellent exploration of complex philosophical theme for the first time in Indian cinema.
1989
(37th)		 Wosobipo[10] Karbi Karbi Anglong District Council Gautam Bora <templatestyles src="Template:Hidden begin/styles.css"/>
For its fresh and original evocation of the collective unconscious of a hill tribe whose way of life has been disintergrating over the last four decades, as seen through the eyes of a boy growing up into the responsibilities of manhood.
1990
(38th)		 Perumthachan[11] Malayalam G. Jayakumar Ajayan <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting a historical backdrop with authenticity, shattering all traditional beliefs with superlative artistic texture.
1991
(39th)		 Haladhar[12] Assamese Geeti Barua and Dwijen Hazorika Sanjeev Hazorika <templatestyles src="Template:Hidden begin/styles.css"/>
For its freshness of approach, the subtlety of its pervasive humour and the courage shown in choosing to build a film around a plough.
1992
(40th)		 Miss Beatty's Children[13] English NFDC, Doordarshan and Rooks AV Pamela Rooks <templatestyles src="Template:Hidden begin/styles.css"/>
For an elegantly simple and sensitive depiction of a British missionary woman who fights the devdasi system in pre-independent India.
1993
(41st)		 Sunya Theke Suru[14] Bengali H. Das, Madhumanti Maitra and M. Das Ashoke Viswanathan <templatestyles src="Template:Hidden begin/styles.css"/>
For its creative handling of sensitive subject, exhibiting the socio-political situation of out society, spanning three decades.
1994
(42nd)		 Mogamul[15] Tamil J. Dharmambal Gnana Rajasekaran <templatestyles src="Template:Hidden begin/styles.css"/>
For an able translation of a literary work of art, for integrating music with melodramatic narrative and for a cinematic simplicity matched with remarkable directorial control.
1995
(43rd)		 Kahini[16] Bengali Chandramala Bhattacharya and Malaya Bhattacharya Malaya Bhattacharya <templatestyles src="Template:Hidden begin/styles.css"/>
For its bold and innovative style and choice of a subject in which the form and content merges into one.
1996
(44th)		 Rag Birag[17] Assamese Bhabhen Baruah and Khanin Baruah Bidyut Chakraborty <templatestyles src="Template:Hidden begin/styles.css"/>
For director's sensitivity in portraying complex human psyche of individual character's in the film.
1997
(45th)		 Bhoothakkannadi[18] Malayalam Nair Krishnakamur Unni A. K. Lohithadas <templatestyles src="Template:Hidden begin/styles.css"/>
For the director's competent handling of the delicate balance of the human psyche.
1998
(46th)		 Daya[19] Malayalam C. K. Gopinath Venu <templatestyles src="Template:Hidden begin/styles.css"/>
For its depiction of a delightful fairy-tale-like theme lending exotic sophistication and colour to the unique mosaic of creativity, imagination and style.
1999
(47th)		 Dollar Dreams[20] English Sekhar Kammula Sekhar Kammula <templatestyles src="Template:Hidden begin/styles.css"/>
For tacking in a very natural manner the burning problem of brain drain to the techno-logically developed world.
1999
(47th)		 Laado[20] Haryanvi Kumud Chaudhary Ashwini Chaudhary <templatestyles src="Template:Hidden begin/styles.css"/>
For taking a bold stand over women's rights in the traditionally orthodox agricultural community of Haryana.
2000
(48th)		 Sayahnam[21] Malayalam M. S. Nazeer R. Sarath <templatestyles src="Template:Hidden begin/styles.css"/>
For the nature and gripping manner in which this young director deals with complex issues like political honesty and nuclear disarmament.
2001
(49th)		 Thilaadanam[22] Telugu NFDC K. N. T. Sastry <templatestyles src="Template:Hidden begin/styles.css"/>
For its juxtaposition of two diverse ideologies existing within the same family – the father's belief in his religion and traditions and his son's revolutionary ideology. The film strikes a very fine balance in inter-generational explorations.
2002
(50th)		 Patalghar[23] Bengali Niti Sonee Gourisaria Abhijit Chaudhuri <templatestyles src="Template:Hidden begin/styles.css"/>
For its craftsmanship and fine blending of the conventions of science fiction and an indigenous narrative form.
2002
(50th)		 Prohor[23] Bengali Debjani Gupta Subhadro Chaudhary <templatestyles src="Template:Hidden begin/styles.css"/>
For its use of sensitive idiom to portray the trauma of a brutalized woman.
2003
(51st)		 Margam[24] Malayalam Rajiv Vijay Raghavan Rajiv Vijay Raghavan <templatestyles src="Template:Hidden begin/styles.css"/>
For poignantly capturing the troubled journey of a middle-aged individual reexamining his p0litical past in the light of prevailing socio-political values.
2004
(52nd)		 Grahanam[25] Telugu N. Anji Reddy Mohan Krishna Indraganti <templatestyles src="Template:Hidden begin/styles.css"/>
For invoking nostalgia in a manner that is powerful yet poetic.
2005
(53rd)		 Parineeta[26] Hindi Vidhu Vinod Chopra Pradeep Sarkar <templatestyles src="Template:Hidden begin/styles.css"/>
For the competent directorial style to recreate a classic novel with modern cinematic sensibilities.
2006
(54th)		 Eakantham[27] Malayalam Anthony Joseph Madhu Kaithapram <templatestyles src="Template:Hidden begin/styles.css"/>
For sensitively portraying the solitude of two ageing brothers who have lost everyone around them.
2006
(54th)		 Kabul Express[27] Hindi Aditya Chopra Kabir Khan <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing, through the journey of two Indian journalists, the collapse of Taliban in post 9/11 Afghanistan.
2007
(55th)		 Frozen[28] Hindi, Ladakhi Shivajee Chandrabhushan Shivajee Chandrabhushan <templatestyles src="Template:Hidden begin/styles.css"/>
For bringing to life with warmth and vivacity life in those distant desolate snow bound heights where existence itself is a fulltime challenge.
2008
(56th)		 A Wednesday![29] Hindi UTV Motion Pictures Neeraj Pandey <templatestyles src="Template:Hidden begin/styles.css"/>
For slick and searing exposure of the tension below the normal rhythm of life and the angst of the common man in Mumbai.
2009
(57th)		 Lahore[30] Hindi Vivek Khatkar Sanjay Puran Singh Chauhan <templatestyles src="Template:Hidden begin/styles.css"/>
For excellent control over the medium and using sport as a metaphor to tell a compelling story.
2010
(58th)		 Baboo Band Baaja[31] Marathi Nita Jadhav Rajesh Pinjani <templatestyles src="Template:Hidden begin/styles.css"/>
For a riveting tale of a father reluctant to educate his son, a mother who fiercely believes in its liberatory value, and the son who is caught in the crossfire, 'Baboo' is an outstanding debut project by director.
2011
(59th)		 Aaranya Kaandam[32] Tamil S. P. B. Charan Thiagarajan Kumararaja <templatestyles src="Template:Hidden begin/styles.css"/>
For a stylized and ironic reinvention of the gangster genre that presents a dazzling map of Chennai's subterranean world of druglords and violence. The director cinematically scrutinizes the landscape of decaying architecture, abandoned factories, old cars and the crisis of masculinity to present a labyrinthine urban dystopia. The city emerges as a wasteland that is simultaneously mundane, shocking and nightmarish.
2012
(60th)		 Chittagong[33] Hindi Bedabrata Pain Bedabrata Pain <templatestyles src="Template:Hidden begin/styles.css"/>
A page from the history of India's independence struggle. The director has recreated a small town incident which had national impact with consummate artistry in his debut film.
2012
(60th)		 101 Chodyangal[33] Malayalam Thomas Kottackkakom Sidhartha Siva <templatestyles src="Template:Hidden begin/styles.css"/>
Highly watchable cinematic experience presented through a special relationship between a young precocious child and his conscientious school teacher. The director in his debut film has done a commendable job in putting forth a topical and sensitive issue.
2013
(61st)		 Fandry[34] Marathi Navalkha Arts and Holy Basil Combine Nagraj Manjule <templatestyles src="Template:Hidden begin/styles.css"/>
A stark and realistic portrayal of Dalits in India seen through the eyes of a young boy who is desperately trying to break age old shackles. It makes a strong statement that despite various reformers doing their best.... much remains to be done.
2014
(62nd)		 Asha Jaoar Majhe[35] Bengali For Films and Salaam Cinema Aditya Vikram Sengupta <templatestyles src="Template:Hidden begin/styles.css"/>
For the portrayal of routine ordinary life with extraordinary cinematic finesse.

References

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External links

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