Since their inception in 1954, the National Awards have been the gold standard for recognising artistic and technical excellence in Indian cinema. Unlike commercial award shows, they honored filmmakers, actors, and technicians whose work challenged the status quo, addressed social realities, and represented diverse voices.
However, the past few years have seen growing criticism of the awards’ credibility. Accusations of bias, political influence, and questionable selections have left cinephiles and industry professionals asking whether the National Awards are still a celebration of art or simply a political tool. The 71st National Awards (2025) have only deepened the debate.
Although controversies surrounding the winners’ list of the National Awards are not new, the 2025 winners’ list has raised more than just eyebrows. From fans to film personalities to the diplomatic world, everyone has more than just an opinion about it. I spoke to two such personalities, filmmaker Swastik Choudhury and musician Priyabrata Panigrahi, about their views on the growing discontentment with awards in India and the source of such controversies.
A Shift in Purpose
The National Awards have long been considered the most prestigious amongst all other awards since it’s an acknowledgment of excellence from the State. The winners were not limited to commercial stars or films, but actors and filmmakers who brought glory to the medium of cinema by voicing people’s concerns. What changed, then? Filmmaker Swastik Choudhury sees an apparent change in the awards’ ethos:
“The key distinction here lies in the individuals who earned these accolades in the past. They weren’t just one-dimensional artists; they were outspoken, often critical of power, and voiced the concerns of ordinary people. Unfortunately, today the National Award system is increasingly becoming a reward system — reserved for those who align with a particular political agenda.”
This shift, he argues, has weakened the prestige the award once held.
“If its existence gets reduced to just another award, like the several ones that are organized around the year, with some being sponsored by condiments and mouth freshener brands, then how would the weightage of such an award hold? How will the winners be viewed then? Even deserving winners may no longer see the same professional impact or respect that once came naturally with the title.”
The Shah Rukh Khan Controversy
One of the most talked-about outcomes this year was Shah Rukh Khan’s Best Actor win for his action spectacle Jawan (2023)—his first National Award in over thirty years. While Khan’s craft is widely respected, critics question the choice of film.
Many point to Swades (2004), in which Khan played an NRI who returns to rural India, as a more deserving work. The film remains a fan favorite for its honest portrayal of development gaps in the country, but it did not win him the award. Some believe its critical tone toward the nation was less palatable than the nationalistic heroism of Jawan.
Musician Priyabrata Panigrahi defends the decision:
“It’s not like someone was discarded for Shah Rukh Khan. He shares the award with Vikrant Massey (12th Fail). He’s already a Padma Shri awardee—I don’t see the harm in recognising such a personality.”
Losing the Weight of the Title
Another flashpoint was The Kerala Story (2023), which won Best Cinematography and Best Director for Sudipto Sen.. The film, depicting the alleged forced conversion of Hindu women to Islam, faced backlash for what critics called Islamophobic and factually misleading content.
Kerala Chief Minister Pinarayi Vijayan accused the jury of legitimising “a divisive ideology” and spreading misinformation. The FTII Students’ Association called the award “dangerous.”
Panigrahi, however, urges separating politics from artistic merit:
“If we keep the political angle away, it has been crafted so well, especially in terms of photography and storytelling. The awards are given to the craft, and not the ideology.”
He also argues that Animal (2023) was no less controversial for its misogynistic tropes and sexist dialogues. Yet it has won two National Awards: Best Background Music and Best Sound Design.
“We can keep arguing for the same. But the point is, the awards were given to the ‘Craft’. We cannot associate every award with a political angle. It’s the National Awards. It should be a celebration.”
In Kerala, Ullozhukku (2024) has been awarded the Best Malayalam Film, but its star, Urvashi, publicly objected to being named Best Supporting Actor, arguing her role was a lead. She has demanded an explanation from the jury, questioning the criteria behind such decisions.
The decision-making process and biases of jury members are often difficult to understand, particularly in the context of global awards. Choudhury doesn’t feel it’s the awards but the choice of films receiving the once prestigious awards that are behind such controversies.
“The purpose of the National Film Awards, as I understand, is to put the spotlight on cinematic excellence that often goes unnoticed, where films and artists, despite their merit, struggle to find the audience they deserve. It was this very ethos that distinguished these accolades from the more commercial, sponsor-driven ceremonies and gave them a rare kind of credibility. They carried a sense of integrity and respect, and the Awardees were always viewed as special talent, and saw more quality work reaching them. However, over time, it appears the National Film Awards themselves have to crave the spotlight.”
So, what’s causing the downfall? Is the audience simply not interested anymore? Or is it because awards don’t really impact the success of artists anymore? Panigrahi says,
“Earlier, you would be approached by various filmmakers if you were a National Award winner. The pool of National award winners would team up amongst themselves for a project. Lately, the case has not been the same. It might be because of competition. National Awards are no longer a symbol of talent. Non-award winners are also doing great work. Some feel that working with National Award winners might lead to creative and financial issues. Also, there are a few sections of the film industry that question the selection of Jury members as well.”
Cinema Between Politics and Commerce
So, is the politics justified? Choudhury believes everything is political in life.
“And this politics primarily shapes our cinema. But this is different from the electoral political space that mainly works on the cost-benefit principle, ignoring any aesthetic or artistic value. Masses are subtly subjected to more dumbed-down content so that the dilution is not noticeable till a point when vested interests completely overtake it. If everything that we think, see, hear, feel, or consume is allowed to be outsourced and dictated by external forces, then our ability to discern merit is bound to be compromised.”
He laments that cinema, unlike other art forms, is under relentless pressure to commercialise:
“Unlike painting, theatre, or classical music, cinema faces excessive scrutiny and censorship, often for irrational reasons, which undermines its artistic value.”
Not All is Lost
Some awards this year were widely welcomed. Rani Mukerji won Best Actor for Mrs. Chatterjee vs Norway (2023), and singer Shilpa Rao won Best Playback Singer for Chaleya (Jawan). Panigrahi celebrates Rao’s recognition:
“She has been in this industry for a long time, giving everything towards her craft. And now she has got her dues. Being a music director myself, I can say that ‘Chaleya’ is a good song. Wonderfully composed by Anirudhh and wonderfully sung by Shilpa. I think it’s a justified win.”
Nevertheless, the art of questioning things should persist, especially with art and artists, which is why Choudhury keeps questioning.
“Why does a filmmaker choose to make a certain film? Will it provide creative satisfaction? That’s why? Or is it about capitalizing on market trends, pleasing certain powers, and chasing box office numbers? Is there a deeper moral or social responsibility that the filmmaker wants to convey through his films, or is it just another business venture to make the most of an opportunity while it lasts?”
Only time will tell.
Analysis Courtesy of Neha Jha
Feature Image: Rani Mukerji in ‘Mrs. Chatterjee vs Norway’ Zee Studios via IMDb
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