The behavior of Indonesian film audiences is interesting to discuss amidst the current proliferation of horror films in the country. According to the Chairman of the Film Censorship Institute (LSF), Naswardi, of the ten new films showing in theaters, six of them are in the horror genre. However, the audience's greatest attention is on films that raise issues of degrading human dignity, and religion.

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According to Dr. Naswardi, MM, ME, the behavior of film viewers was discovered when the LSF Research and Development Division conducted research in 2022. "There are 6 criteria that we distributed to respondents: pornography, violence, narcotics and addictive substances, unlawful acts, and degrading human dignity, and religion. Of the six criteria, the one that the public pays most attention to is the issue of degrading human dignity, and religion," he said.

Initially, Naswardi continued, his party was worried about the issue of pornography and violence that would receive great attention from Indonesian film viewers. "It turns out that the audience we studied was not too concerned about pornography and violence in the films that were shown," he said.

Indonesian audiences are known to really like horror films. This data is translated by producers and filmmakers by producing films according to market demand. And it turns out, horror films are indeed well received. "If they make films with other genres, the stakes are high. They are afraid of not getting their capital back because their films don't sell. That's why horror films dominate the market today," he said.

Another interesting issue is the lack of detailed regulations regarding films shown on information technology networks such as Over The Top (OTT) and Video on Demand (VOD). It is not surprising that there is a gap between films on OTT and VOD; such as RCTI+, Vision+, vidio.com, Netflix, VIU, Iflix, Disney Hotstar, Mola, WeTV, Apple TV, etc., with films published in cinemas.

"We urge the legislature authorized to revise the Law to complete the revision of Law No. 33 of 2009 concerning Film. So that detailed regulations regarding films shown on OTT and VOD are clear and pass censorship like films shown in cinemas," he said to Edy Suherli, Bambang Eros, Irfan Meidianto, and Dandi Januar when he stopped by the VOI office in the Tanah Abang area, Central Jakarta recently.

Congratulations on being elected as the New Chair of the LSF of the Republic of Indonesia

Thank you, alhamdulillah, thank you for the support of all parties, including the media. We are trusted to continue the research and film assessment work (censorship) for the next four years.

What programs will be implemented during this period?

The task of the LSF is to ensure the accuracy of film research and assessment, especially in age classification and grouping. There are films for all ages (SU), 13 years and above, 17 years and above, and 21 years and above. So the process must be academically accountable. After that, a film will get a censorship pass mark. That's what we will do.

What else besides that?

We want to apply AI (artificial intelligence)-based technology in film curation and filtration. So, not only relying on human resources who have been included in the censorship group. It is hoped that more films can be censored.

When will it be implemented?

This is still under review. We have just conducted a comparative study to South Korea. The classification agency there (Korea Media Rating Board) has used AI in film classification and age classification. Indonesia does not yet have AI technology for that. We have studied the technology used in Korea and China. Later, we will assess which is superior for us to adopt.

If AI is used, will human resources be laid off? How many censorship human resources are there at LSF?

We have 5 standard studios and 1 studio with a large capacity (70 people). The five studios are operated by LSF members and film censorship staff (34 people), as well as operators. Even though we use AI, we will not reduce the existing human resources. The problem is that the number of films that are censored is large, especially if the Film Law is revised, the censored material will increase again, including films that are broadcast on OTT and VOD will also be censored.

What about streaming material that is broadcast live, does it have to be censored?

Friends in the streaming-based information technology network have formed AVISI (Indonesian Video Streaming Association). There are around 11 members, including Mola, WeTV, etc. Once again, the rules are not yet in place, so it is still based on awareness and compliance.

There is talk about self-censorship, to what extent is this implemented by industry players in the film sector?

We encourage filmmakers, producers, and players in the film industry to self-censor the films they make. LSF has a Film Legal Literacy program, which targets Film Vocational Schools, film study programs on campus, film associations, and production houses. Before film production begins, there should be a plan for what age group the film is for. For example, for ages 13, there should be no excessive scenes of sadism and pornography. This self-censorship is not only carried out in Indonesia, but also in Japan, Malaysia, Korea, etc. Filmmakers and film industry players in these countries also do the same thing.

If friends already understand self-censorship, all parties will be facilitated, both filmmakers and LSF. The problem is, if there is a film that is planned for ages 17, but according to LSF it is different, then the production house must revise it. That takes more energy and time. We will promote a culture of self-censorship. One of them is ensuring that viewers watch according to their age. We have also collaborated with the Indonesian Cinema Entrepreneurs Association (GPBSI) to oversee this. Public viewing literacy must continue to be improved.

The general public knows that LSF censors films, what other duties does it have?

Based on Law No. 33 of 2009 concerning Film, LSF's duties are to censor feature films and non-feature films as well as advertisements. All of this must go through the determination, assessment, and research of LSF. Only films that have received a censorship pass mark may be shown to the public, whether in cinemas, broadcasting institutions (TV), or information technology networks (OTT and VOD). Our focus is on feature films shown in cinemas.

For films shown on TV, in addition to being regulated by the Film Law, it also refers to the Broadcasting Law. In the Broadcasting Law, broadcast content must receive a censorship pass mark from LSF, except for news and live streaming. The regulations for information technology networks are not yet detailed, because the regulations are not yet complete. The basis is only compliance and awareness of filmmakers. For OTT and VOD, only about 5% of titles can be censored.

In general, in our country, regulations lag behind technological advances. What is the middle ground?

In Law No. 33 of 2009, has not been regulated in detail regarding digital technology and the use of information technology networks. Therefore, a revision of the law is very necessary so that OTT and VOD can also be censored. Because there are no regulations yet, films on OTT tend to be more "daring". The classification follows the standards of organizations abroad, this is a problem because it should follow regulations in Indonesia. The solution is, we approach and appeal to production houses, but because it is only an appeal, there is no strong bond. Furthermore, we encourage the DPR to revise the Film Law.

Now films on OTT are more vulgar because there are no regulations yet. So there is a gap with cinema films. What about the future?

Regarding OTT, there is a view that this is a private area because access is paid. Let's just wait for the revision of the Film Law on this matter.

There is an assumption that censorship restricts the creativity of passionate filmmakers. What is your response?

The narrative that film works are limited by censorship does have some truth to it, but that was before Law No. 33 of 2009. Previously, the Film Censorship Board (BSF) had the authority to directly cut the celluloid film tape used. However, with the current technological changes, cutting the tape can no longer be done because the film is now in digital form. What is now is not cutting scenes, but rather classification, namely determining the age limit of the audience that is appropriate for the film. If there are improvements, the LSF only provides limitations. The use of the word "censor" is a mandate of the law, but what we do is classification. So, we do not limit filmmakers to be creative, we only need to ensure that their films are in accordance with the age limit of the audience.

Regarding accountability and transparency in censoring films, can it be opened to the public?

In carrying out its duties, the LSF is supervised by other state institutions. Alhamdulillah, yesterday the LSF received the best predicate from the Indonesian Ombudsman for public service. From the Central Information Commission (KIP), we also received the predicate for openness of information. From the National Library, we received an award related to film archiving. All of these awards are benchmarks for our accountability, transparency, and performance in the film research and assessment process.

We also publish the censorship results, so that the public can assess. We have an application-based public service for censorship that can be accessed by everyone. Which films have been censored and what the classification results are, are all available. For films that have passed censorship, there is a guide on the title, synopsis, actors, and others. Every weekend, this information is always awaited by the Independent Censorship Friends Community. This is a form of literacy that we provide to the public before watching. So, the accountability and transparency of LSF's performance can be seen by the public.

In carrying out its duties, has the LSF ever been pressured by certain parties to pass or not pass a film?

In carrying out its duties, the LSF is independent, and we purely implement the law. Other institutions or parties cannot intervene. What exists is public or audience input, one of which is for a film entitled 'Kiblat'. Which was then revised by the production house, both the title and the poster changed. We are always open to input from religious figures, community leaders, educators, and audiences that we can use as a reference in assessing a film. We respond immediately if there is input.

What is the public perception of films with nuances of violence or pornography like now?

The LSF has a research and development division, they are the ones who conduct studies on current issues in film. In 2022, we are researching public perception of film censorship. There are 6 criteria that we distribute: pornography, violence, narcotics and addictive substances, unlawful acts, and degrading the dignity of humanity and religion. Of the six criteria, the ones that the public pays most attention to are the criteria of degrading human dignity, and religion. Pornography and violence are not really a concern. From this research, we have special attention if there are films that touch on degrading human dignity, and religion. Initially we were worried about pornography and violence, it turned out that the audience we studied was not worried about that.

Is there a correlation between the research and the proliferation of horror films with lots of violent scenes and adult films?

In 2023, we will continue our research on what film genres the public likes. The research was conducted in Jakarta, Bandung, Surabaya, Makassar, and Medan. It turned out that the films that respondents liked the most were horror films, then comedy films, and thirdly drama films.

Why horror films?

After we looked deeper, it turned out that the content of the stories in Indonesian horror films strongly intersects with the past lives experienced by respondents. So, the films that are set in stories are similar to what respondents experienced when they were children. For example, not playing outside the house at dusk. This data is used by filmmakers. Market theory is based on supply and demand. Because horror films are in high demand, most of the films produced are horror films. Don't be surprised that out of 10 films shown, 6 of them are horror films.

There are also not enough children-themed films, how do you see it?

Out of more than 41,000 films produced last year, children's films (all ages) are in third place. First 13 years and above, then 17 years and above, all ages and 21 years and above. We do have 83 million children. However, in terms of the films made, there is a gap, out of 10 films, there is 1 film for all ages that is good, sometimes there is none. Then, the population of children who watch films is also small. So, production houses think twice about making children's films, afraid of not getting their capital back. Unless the story is very strong.

So what can be done?

In my opinion, ministries and institutions must provide support for the production of children's films. So that children's films continue to exist, and children watch films for their age.

Naswardi Directs and Accompanies Children Watching Films

Children should watch movies according to their age. On weekends, the Chairman of the Film Censorship Institute (LSF), Dr. Naswardi, MM, ME., takes the time to accompany his children to watch movies. He does not forbid his children from watching movies but with the note that they must be in accordance with age guidelines.

On weekdays, he does spend time for activities at the LSF office and as a lecturer. "I leave when the children are not yet awake and come home when they are already in bed. Because of that, my children protest. So finally I dedicate my time on the weekends to them. That's why sometimes the response is slow on weekends, hehehe," admitted the man born in Balimbing, Rambatan District, Tanah Datar Regency, West Sumatra, July 16, 1983.

One of the activities with his children is done by Naswardi accompanying his children to watch movies. What the LSF campaigned to the community on a small scale in the family environment was actually implemented by Naswardi. He also practices with his children to watch movies according to the age guidelines set by the LSF.

"My first child already seems to like watching movies, as a parent I have to direct what movies he can watch. If on the weekends I accompany the children to watch. I do not limit but accompany them to watch movies that are appropriate for their age," he said.

What Naswardi does is not only provide guidelines but also supervision so that his children stay on the right track. "Today's children have better digital intelligence than their parents. If their curiosity is high they can search through official and unofficial channels," continued Naswardi who also emphasized religious education for his children through formal and non-formal schools.

From KPAI to LSF

Before serving as a member of LSF, for ten years he was a commissioner at the Indonesian Child Protection Commission (KPAI). "For 10 years I served as a KPAI commissioner. Our job is to oversee the protection of Indonesian children. Including complaints from the public that are often in the matter of cyber-bullying. Children are exposed to pornography, children become perpetrators of sexual violence because of pornography addiction and other problems related to children," he said.

Because of this problem, KPAI and LSF coordinated and sought solutions on how to reduce the impact of unhealthy viewing for children. "In 2020, LSF opened registration for members for the 2020-2024 period. I was assigned by friends at KPAI to be recommended as a member of LSF. After going through a long process, I was selected," said the man who was the Chair of the Socialization Commission in his first period of duty at LSF.

For the next period, Naswardi re-registered and passed the selection for the second period of duty. "In the plenary meeting, LSF members gave me the mandate to become Chair of LSF for the 2024-2028 period," he said.

Although he is now a member of LSF, the initial vision for becoming a member of LSF recommended by his friends at KPAI has not changed, namely how to realize child-friendly entertainment. "How to increase the number of children's films and so that children can watch films according to their age classification," he explained.

KPAI's main task of protecting Indonesian children from things that are not educational can be realized in part through institutions such as LSF. "LSF's main task is to curate and filter films and improve the quality of films. The most vulnerable group affected are children. This is what we can strive for through work at LSF," he said. 

Missing the Laskar Pelangi Movie

For Naswardi, films should be able to entertain and inspire. “I like Indonesian films the most. If not us, who else will watch national films. Until now, one of the national films that I think is good and should be a reference is Laskar Pelangi. The story is good and inspiring,” he praised.

Naswardi continued that this film has an entertaining story and a message that it wants to convey to the audience. “The story about the limitations of the Laskar Pelangi children does not prevent them from achieving their dreams. Limitations are not a reason to work or produce something good,” continued the man who loves marathons and badminton.

He hopes that the government can provide stimulus and support to filmmakers and production houses who want to make inspiring films like the Laskar Pelangi film. It can be a historical film, a biopic, etc., which can inspire child audiences. “The form can be in the form of easy permits or tax relief,” he said.

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For that, Naswardi continued, there needs to be synergy and collaboration between filmmakers and producers with stakeholders. "Hopefully there will be more films that entertain but also inspire children," he hoped.

"In my opinion, ministries and institutions should provide support for children's film production. So that children's films continue to exist, and children watch films for their age,"