Rewritten Cinema Censorship Across Regions

“Buzz Lightyear” (“Lightyear”, 2022), Kazakhstan

In July 2022, cinema in Kazakhstan faced a temporary prohibition on the Disney feature Buzz Lightyear due to a brief same-sex kiss between Alisha Hawthorne and her partner. This decision echoed similar licensing concerns that also affected a Toy Story spin-off in other regions such as Malaysia.

Historically, Kazakhstan’s cinema landscape has seen notable censorship debates, including the provocative reception of Borat. Sacha Baron Cohen, the film’s creator and star, depicted Kazakh people with satirical exaggeration. Over time, authorities acknowledged that the satire targeted broader stereotypes about American culture rather than the Kazakh people themselves.

“Once upon a time… in Hollywood” (Once upon… in Hollywood, 2019), China

In 2019, Quentin Tarantino’s Once Upon a Time in Hollywood could not secure a theatrical release in China, one of the world’s two largest movie markets. The ban followed a complaint from Shannon Lee, Bruce Lee’s daughter, who objected to a sequence where her father appears to lose a fight to the film’s protagonist. The public voice from the family underscored concerns about how the scene portrayed Bruce Lee.

“He comes across as arrogant, not the type who earns victory by merit alone,” Shannon Lee remarked. Chinese authorities suggested a potential licensing revival if Tarantino chose to redo the scene, but the director declined. Consequently, many Chinese viewers accessed the film only through unofficial channels until a formal release could be revised or reconsidered.

Back to the Future (1985), China

China’s stance on time-travel narratives added another layer of complexity. Since 2011, the regime has limited public showings of works that depict alternate histories. The concern centers on portrayals suggesting a world where the Chinese Communist Party does not exist or where the past is altered in ways officials deem unacceptable. As a result, even beloved franchises like Back to the Future faced constraints in their Chinese distribution.

The Death of Stalin (2017), Russia

The Scottish satire The Death of Stalin ran into trouble with Russian authorities at the last moment in 2018. The film lampoons the leadership of the Soviet era, and the Ministry of Culture initially stated there would be no censorship. That stance shifted on the eve of the premiere, leading to a last-minute denial of a rental license. Armando Iannucci, known for biting political satire, has a track record of critiquing power structures that resonates across audiences.

The Exorcist (1973) and Texas Chainsaw Massacre (1974), United Kingdom

The UK’s experience with these two horror staples has been marked by shifting classifications over time. The Exorcist was initially approved for theatrical release in 1973, yet subsequent home video copies in the late 1980s carried a restrictive treatment that limited access for younger audiences. In 1988, video copies were pulled from shelves and not reintroduced for years. The Texas Chainsaw Massacre faced a parallel pattern: a 1975 ban due to concerns about its psychological impact, with a full UK release only returning in 1998 after revisions to censorship rules and ratings practices.

The Hunger Games (2012), Vietnam

The adaptation of Suzanne Collins’s novels did not win universal acceptance in Southeast Asia. In Vietnam, and to a degree in neighboring Thailand, officials cited intense battle scenes and its allegorical symbols as reasons for restricting the film. The resistance gesture within the story, later adopted by student movements in Thailand, amplified concerns over its influence on youth and public sentiment.

“2012” (2009), North Korea

North Korea’s rare exposure to Hollywood fare is well documented, and the release of Roland Emmerich’s disaster epic raised eyebrows for reasons beyond humor. The regime marked 2012 as a particularly sensitive year and responded with severe penalties for distributing digital copies. The film’s portrayal of global events collided with the state’s messaging and political narrative, resulting in strict enforcement and criminal penalties for those involved in dissemination.

Additionally, the North Korean leadership used the moment to emphasize a national discourse of self-reliance and strength, framing the year as a turning point for the regime. This context helped explain why a blockbuster would be met with such stringent measures, far beyond usual censorship concerns.

A Clockwork Orange (1971), Ireland and South Korea

Kubrick’s controversial adaptation sparked immediate bans in Ireland and South Korea due to the depiction of extreme violence. In the United Kingdom, the film’s home country, the director requested withdrawal from certain screenings to shield younger viewers from its intensity. The film did not make a full return to widespread cinema screens until years later, reflecting evolving attitudes toward on-screen violence and audience protection.

“Indiana Jones and the Temple of Doom” (1984), India

Greed for adventure collided with cultural sensitivities in India. The film’s release faced a formal rejection because of a controversial scene in which characters depict the brain-eating ritual of monkeys. Indian authorities opted not to alter the film to satisfy local standards, choosing instead to withhold certification for the release in the country.

“Wonder Woman” (2017), Lebanon, Qatar, Tunisia

In the Arab world, political alignments and regional dynamics influenced reception to superhero cinema. The premiere of Wonder Woman and its star, Gal Gadot, who had completed mandatory service in the Israeli army, drew objections tied to broader geopolitical tensions. These factors led to a regional response that encompassed both cinema distribution and public reception, illustrating how film and politics can intersect in complex ways across different markets.