National Film Award for Best Direction

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National Film Award for Best Direction
Type National
Category Indian Cinema
Description Excellence in cinematic direction achievement
Instituted 1967
First awarded 1967
Last awarded 2014
Total awarded 48
Awarded by Directorate of Film Festivals
Cash award ₹ 2,50,000/-
Medal Swarna Kamal (Golden Lotus)
Previous name(s) Award for excellence in direction (1967 - 1976)
First awardee(s) Satyajit Ray
Recent awardee(s) Srijit Mukherji

The National Film Award for Best Direction is one of the National Film Awards presented annually by the Directorate of Film Festivals, India, and was constituted in 1967. This is one of the Golden Lotus Awards (Swarna Kamal) given among National Film Awards. It is announced for films produced in a year across the country, in all Indian languages. As of 2014, Satyajit Ray is the most frequent winner with six awards.

The award winners for Best Direction are given below. The award comprises a Swarna Kamal (Golden Lotus) medallion, a cash prize of ₹ 2,50,000/- and a certificate.

Awards

Cash prize amount varied over the period. Following table illustrates the cash prize amount over the years:

Year (Period) Cash Prize
1967 (15th) - 1972 (20th) A plaque, ₹ 5,000
1973 (21st) - 1986 (34th) Rajat Kamal and ₹ 20,000
1987 (35th) Swarna Kamal and ₹ 25,000
1988 (36th) - 2005 (53rd) Swarna Kamal and ₹ 50,000
2006 (54th) - present Swarna Kamal and ₹ 2,50,000

Winners

List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year Image Director(s) Film(s) Language(s) Citation Refs.
1967
(15th)		 SatyajitRay.jpg Satyajit Ray Chiriyakhana Bengali  – [1]
1968
(16th)		 SatyajitRay.jpg Satyajit Ray Goopy Gyne Bagha Byne Bengali  – [2]
1969
(17th)		 Mrinal-sen.jpg Mrinal Sen Bhuvan Shome Hindi  – [3]
1970
(18th)		 SatyajitRay.jpg Satyajit Ray Pratidwandi Bengali  – [4]
1971
(19th)		 Girish Karnad Screening Cornell.JPG Girish Karnad Vamsha Vriksha Kannada  – [5]
 – B. V. Karanth [5]
1972
(20th)		 DirectorAdoor.jpg Adoor Gopalakrishnan Swayamvaram Malayalam  – [6]
1973
(21st)		  – Mani Kaul Duvidha Hindi  – [7]
1974
(22nd)		 SatyajitRay.jpg Satyajit Ray Sonar Kella Bengali  – [8]
1975
(23rd)		 SatyajitRay.jpg Satyajit Ray Jana Aranya Bengali  – [9]
1976
(24th)		  – P. Lankesh Pallavi Kannada  – [10]
1977
(25th)		  – G. Aravindan Kanchana Sita Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For its courageous and uncompromising exploration of an ancient epic through a pronouncedly new cinematic language, for making the camera speak more eloquently than the introspective characters of the Ramayana, for projecting the interior landscape of the protagonists against the vast backdrop of nature, for matching profound philosophical ideas with astonishing evocations of the beauties of the physical world.
 [11]
1978
(26th)		  – G. Aravindan Thampu Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a truly director's film which effectively brings out the pathos and ennui in the life of village circus artists and their audience.
 [12]
1979
(27th)		 Mrinal-sen.jpg Mrinal Sen Ek Din Pratidin Bengali  – [13]
1980
(28th)		 Mrinal-sen.jpg Mrinal Sen Akaler Shandhaney Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For exploring the inevitable conflict between urban and rural cultures, for displaying in almost every sequence masterly handling and complete command over the medium.
 [14]
1981
(29th)		 Aparna Sen.jpg Aparna Sen 36 Chowringhee Lane English <templatestyles src="Template:Hidden begin/styles.css"/>
For effectively orchestrating the creative and technical elements in her first film, for a poignant portrayal of loneliness in old age and for bringing to the screen a true-to-life situation in post-independence India.
 [15]
1982
(30th)		  – Utpalendu Chakrabarty Chokh Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his merciless expose of several aspects of social injustice with admirable command over his medium.
 [16]
1983
(31st)		 Mrinal-sen.jpg Mrinal Sen Khandhar Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For its subtle blending of nostalgia and contemporary social comment and the powerful visual exploration of the theme.
 [17]
1984
(32nd)		 DirectorAdoor.jpg Adoor Gopalakrishnan Mukhamukham Malayalam  – [18]
1985
(33rd)		 Shyam Benegal.jpg Shyam Benegal Trikal Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the masterly treatment of an unusual story which, through subtle and sensitive handling, brings out the conflicts in a family trapped in strange memories and situations.
 [19]
1986
(34th)		  – G. Aravindan Oridathu Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For his masterly and powerful depiction of changing society reeling under the onslaught of technical progress.
 [20]
1987
(35th)		 DirectorAdoor.jpg Adoor Gopalakrishnan Anantaram Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the exceptional mastery of the craft in dealing with a very complex and unusual subject for the cinema.
 [21]
1988
(36th)		 Shaji N. Karun.png Shaji N. Karun Piravi Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For remarkable success in accomplishing fusion of various elements and creating new heights of cinematic aesthetics.
 [22]
1989
(37th)		 DirectorAdoor.jpg Adoor Gopalakrishnan Mathilukal Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For successfully capturing the spirit of the short story on his prison days by the celebrated writer Vaikkom Mohammed Basheer.
 [23]
1990
(38th)		  – Tapan Sinha Ek Doctor Ki Maut Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For having presented a contemporary problem with courage, subtlety and finesse.
 [24]
1991
(39th)		 SatyajitRay.jpg Satyajit Ray Agantuk Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For the outstanding craftsmanship and the command over the language of cinema he employed in creating a remarkable cinematic experience.
 [25]
1992
(40th)		 GoutamGhose.JPG Goutom Ghosh Padma Nadir Majhi Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his stunningly convincing realisation of Manik Bandopadhyay's novel into a breathtaking cinematic experience.
 [26]
1993
(41st)		 100px T. V. Chandran Ponthan Mada Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For a masterly rendering of a whole range of human experience into celluloid poetry.
 [27]
1994
(42nd)		 Jahnu Baruah.JPG Jahnu Barua Xagoroloi Bohudoor Assamese <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing Assamese life and reality in an original format uniquely associated with the director, and for enriching the spectrum of Indian Cinema thereby.
 [28]
1995
(43rd)		  – Saeed Akhtar Mirza Naseem Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the deeply moving portrayal of a family in turmoil in the midst of communal disharmony with lyrical quality and brilliant cinematic touches.
 [29]
1996
(44th)		  – Agathiyan Kadhal Kottai Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For a brilliantly knit plot, maintaining the tempo and rhythms of an unusual love story till end.
 [30]
1997
(45th)		 Jayaraj.jpg Jayaraj Kaliyattam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For successfully transplanting the classic play by keeping the traditional "Theyyam" art form as a backdrop and weaving an extremely tight story, never losing control of the medium.
 [31]
1998
(46th)		  – Rajeevnath Janani Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For a warmly compassionate film where subject and treatment are in perfect harmony.
 [32]
1999
(47th)		  – Buddhadeb Dasgupta Uttara Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his skillful weaving together of different strands of life through metaphors, symbols and folk icons, to question the definition of humanity in our scoundrel times.
 [33]
2000
(48th)		 Rituparno.jpg Rituparno Ghosh Utsab Bengali <templatestyles src="Template:Hidden begin/styles.css"/>

For working with a large group of actors within the confines of a rambling old house.

The director builds an unpretentious, gripping and entirely credible narrative and brings about in the process some extremely powerful performances.
 [34]
2001
(49th)		  – B. Lenin Ooruku Nooruper Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For telling the eventful story of a revolutionary who has killed for his cause and awarded the death sentence for his crime. It further looks at the issue of capital punishment.
 [35]
2002
(50th)		 Aparna Sen.jpg Aparna Sen Mr. and Mrs. Iyer English <templatestyles src="Template:Hidden begin/styles.css"/>
For her effective and subtle handling of people caught in a trying and difficult times.
 [36]
2003
(51st)		 GoutamGhose.JPG Goutom Ghosh Abar Aranye Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his complex weaving of human destines across a wide range of socio-political and cinematic histories.
 [37]
2004
(52nd)		  – Buddhadeb Dasgupta Swapner Din Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his appropriate usage of metaphors and complex handling of socio political situation present in West Bengal in a language simultaneously cinematic and poetic.
 [38]
2005
(53rd)		 100px Rahul Dholakia Parzania English <templatestyles src="Template:Hidden begin/styles.css"/>
For the compelling documentation of contemporary human lives trapped in difficult times of communal hatred and violence.
 [39]
2006
(54th)		 100px Madhur Bhandarkar Traffic Signal Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For weaving in the lives, livelihoods and concerns of the street dwellers in a metro and the inspiring stand that makes the protagonist a role model across society.
 [40]
2007
(55th)		 DirectorAdoor.jpg Adoor Gopalakrishnan Naalu Pennungal Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For his delicate and subtle handling of gender issues in a conventional society. Four women of different marital status are trivialized and subjected to abject neglect by their immediate partners and family.
 [41]
2008
(56th)		 Bala Naan Kadavul Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For its powerful handling of an extraordinary subject that focuses on marginal characters with great convection.
 [42]
2009
(57th)		 Rituparno.jpg Rituparno Ghosh Abohoman Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For the many layered narrative of emotional conflict, rich texture and ensemble performances.
 [43]
2010
(58th)		 100px Vetrimaaran Aadukalam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For a gritty tale of love, jealousy and betrayal in the midst of bloodsport and violence, in the manner of realistic cinema.
 [44]
2011
(59th)		  – Gurvinder Singh Anhe Ghore Da Daan Punjabi <templatestyles src="Template:Hidden begin/styles.css"/>
For its haunting portrayal of the lives of people in a village as they battle with the reality of large scale industrial development. The director deploys an inventive storytelling form where sound, space and body operate distinctly to frame the experience of a fragile existence. Each face portrayed in the film carries the signs of persistent trauma. This is an aesthetic tour de force that confidently and successfully reinvents the contours of Indian experimental cinema.
 [45]
2012
(60th)		  – Shivaji Lotan Patil Dhag Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
The stark reality of a crematorium and its inhabitants who conduct the last rites form the core of this remarkable film that tugs at your heart. The director's creative craft pervades in all its ramifications throughout this brilliant film.
 [46]
2013
(61st)		  – Hansal Mehta Shahid Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
A remarkably handled film that traces the true story of a slain human right activist and a lawyer Shahid Azmi in the backdrop of communal violence unleashed in Mumbai. The story of an impoverished Muslim struggling to come to terms with injustice, inequality and rise above his circumstances. It is an inspiring testament to the human spirit.
 [47]
2014
(62nd)		  – Srijit Mukherji Chotushkone Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For its brilliantly reflexive use of the cinematic idiom through a playful and innovative mise-en-scene that tautens to an unexpected and gripping climax.
 [48]

References

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External links

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