National Film Award For Best Non-Feature Film Editing - Winners

For making use of the full potential of the dimensions of space and time with creative excellence.

For his work, which beautifully creates a structrue that responds to the rhythms of the dance.

For deft cutting of difficult sequence which makes it possible to maintain the rhythm and tempo of the film.

For smooth, precise and excellently edited work, which gives the film its unique rhythm, in keeping with its form and content.

For the elegant pace with which he discovers spatial correlatives for the inherent musicality.

For rhythmic pace in relation to the appropriate mood of both the films.

For knitting together harmoniously into an unbroken visual flow in the film.

For the seamless and rhythmic flow of visual images, juxtaposing hope and despair in a harmonious aesthetic.

For weaving a narrative imbued with lyricism of life.

For the creative and crisp juxtaposition of imagery which complements the theme of the film.

For skilfully juxtaposing three streams of visuals into one rhythmic meaningful narrative.

For maintaining the pace and drama of the film without any spoken words.

For its intelligent end engaging use of cinematic form and structure as it weaves itself in and out of hotel rooms and peoples lives on New Years Eve at a sea-side hotel.

For the way she supports the eerie pace of a story that swings from here to beyond.

For documenting with apathy of the drought stricken villagers, by fluent and flowing editing style, keeping the interest on the subject, very engaging.

For its skilful editing. It is difficult to make out where one sequence ends and the other begins!

For creating a rhythm which is unhurried and profound and that is in tune with the life and world view of Fakirs in rural Bengal.

For its creative blending of various elements of the past and present, as also for its seamless flow of images that evoke genuine emotions.

For a delicately interwoven edit of three sparsely connected contemporary urban tales of alienation. Developing a rhythm with parallel and simultaneous stories, the cutting sculpts an extremely powerful contemporary form.

For being able to seamlessly juxtapose past and present experiences in the form of images.

For the abstract visualisation and endearing black &white tones are very effectively punctuated with fine editing, and in the process it maintains a very subtle and flowing rhythm and pace to carry forward the cinematic work.

For infusing the film with a magical rhythm that underscores its inherent poetry.