The 72nd National Film Awards triggered criticism after Punjabi cinema went empty-handed, with filmmakers and actors questioning merit, transparency and the jury process.
72nd National Film Awards Spark Backlash As Punjabi Cinema Misses Out (Photo: PIB)
ByETV Bharat Entertainment Team
Hyderabad:The announcement of the 72nd National Film Awards has sparked an intense debate across the film industry. While several films and artists celebrated their wins, the results also left many disappointed, especially in the Punjabi film industry, which failed to win a single award this year. Along with the disappointment came questions about the selection process, the jury and whether merit alone determined the winners.
For Punjabi cinema, the outcome lead to disappointment at the National Awards. Over the years, films such as Baaghi Di Dhi, Harjeeta, Rabb Da Radio 2, Chauthi Koot and Nabar had brought national recognition to the industry. This year, however, no Punjabi film found a place among the winners.
Director and writer Bhagwant Singh Kang described the result as disappointing but also called it an opportunity for introspection. “It is sad that Punjabi cinema could not register its presence in any category,” he said, adding that National Awards are not decided by box office collections but by storytelling, direction, performances and artistic impact.
Kang admitted that while Punjabi cinema has entertained <a href="https://cinemamix360.com/website_97b25373/2026/07/22/from-chronicle-to-the-future-film-lecture-series-draws-pavlodar-audiences/” title=”'From Chronicle to the Future' film lecture series draws Pavlodar audiences”>audiences in recent years, there have been fewer films that match the artistic standards expected at the national level. “We should ask ourselves whether we are only chasing commercial success or also making films that deeply present society and culture.” He expressed hope that stronger scripts and meaningful subjects would eventually help Punjabi cinema return to the winners’ list.
Veteran actor and director Darshan Singh Aulakh, however, offered a very different perspective. He questioned why Punjabi films had once again been left out despite what he believed were deserving entries. “Many very good films were made. Why discriminate against Punjab? Let us all unite and continue making our effort.”
Beyond Punjabi cinema, criticism also came from the independent filmmaking community. Filmmaker Badrinaath said his concerns were not limited to one winning film but to what he described as a larger pattern in the awards. “My concern is not specifically about Article 370. What concerns me is the overall pattern in the awards.”
He argued that when people from closely connected professional or family circles win across different categories, it naturally raises questions about the credibility of the selection process. Badrinaath also questioned the composition of the jury, saying National Award juries should include people with deep knowledge of cinema, literature and filmmaking.
According to him, transparency is essential if the awards are to retain public trust. “The credibility of the National Film Awards depends on public confidence in the jury.” He added that jury members should be selected through an independent and merit-based process with clearly defined qualifications.
The filmmaker also said independent and regional cinema still does not enjoy a level playing field despite producing quality work. He pointed to mentorship initiatives through the Mumbai Indie Film Society as an example of how emerging filmmakers are strengthening their craft and argued that talent deserves equal recognition.
Meanwhile, Malayalam actor Chandu Salimkumar also questioned the results after critically acclaimed films like Manjummel Boys failed to win major honours.
Without naming any particular film in his social media post, Chandu reflected on how future generations would judge the list of National Award winners. “Awards are supposed to outlive governments. They should stand as proof of artistic excellence, not political convenience.”
He added that if audiences in the future find ordinary films being honoured while stronger films are ignored, the questions surrounding those decisions would survive much longer than the trophies themselves.
In another post, while congratulating Malayalam winners, Chandu remarked that truly outstanding performances remain impossible to overlook regardless of the circumstances.
The reactions underline a larger conversation that returns almost every year after the National Film Awards are announced. While some filmmakers see this year’s results as a reminder for regional industries to create stronger cinema, others believe greater transparency in the jury process and selection criteria is equally important.
Despite the criticism, many within the industry hope the debate leads to meaningful reforms. Whether it is Punjabi cinema looking to make a stronger comeback or independent filmmakers seeking a fairer platform, the common demand remains the same—that India’s highest film honours continue to reward artistic excellence above everything else.
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