The Dutch East Indies government formed the Commissie voor de Keuring van Films (KPF) on March 18, 1916, in response to the growing popularity of film in its colonies. The commission was tasked with censoring all films to ensure they did not contain elements that could endanger colonial power—such as resistance movements, foreign ideologies, or values deemed incompatible with European norms.

KPF was not just an administrative censoring body—it became a tool for cultural political control. Movie was seen as a powerful medium for shaping public opinion, so controlling its content was part of a broader strategy for social control and limiting discourse. This system laid the groundwork for Indonesia’s modern film censorship structure.

Following independence, the Indonesian government recognized the importance of continuing censorship functions as part of nation-building. The Film Examination Committee (PPF) was formed to replace the KPF, ensuring that film content aligned with Pancasila values, national morals, and the spirit of independence.

During this time, the national film industry began to flourish with nationalist sentiment, while also facing challenges from foreign content and ideological dynamics. The PPF ensured that films would not be used as tools of political provocation, radical ideology, or social unrest. Though operating with limited infrastructure, the PPF played a critical role in maintaining post-independence social order.

Through the Minister of Information’s Decree No. 46/SK/M/1965, the PPF was officially restructured into the Film Censorship Board (BSF). This aligned with the New Order’s approach, emphasizing political stability, national security, and cultural uniformity. BSF served as a state tool for upholding public morality and blocking the spread of ideologies opposing the state.

Censorship during this era was highly strict and ideological. Films featuring political content, sexuality, or excessive violence were severely limited or banned outright. Censorship was not just technical—it shaped public perception to fit official narratives. Many films were cut or blocked from release for failing to meet the state’s ideological standards.

Responding to calls for democratization and reform, the BSF was renamed the Film Censorship Institute (LSF) in 1992. This shift reflected a move from a control-based approach to a collaborative one involving civil society, academics, and film professionals. LSF became a non-structural, independent institution.

LSF’s role expanded beyond censorship to public education through age classification and media literacy. Its main principle became balancing freedom of expression with protection for vulnerable communities. This era also saw a rise in national film production and public discourse on censorship and expressive rights.

Law No. 33 of 2009 on Film provides a stronger legal foundation for LSF’s operations. LSF now must address the challenges brought by digital technology, especially the rapid online distribution of content through OTT (Over-The-Top) platforms that bypass conventional screening routes.

In response, LSF has enhanced its film classification system and expanded its educational outreach. Media literacy, child protection, and content monitoring have become core focuses. LSF has also begun digitizing its censorship processes and partnering with various digital distribution platforms. This era demands high flexibility from LSF in regulating films in a global and open environment.