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** Outside of America, classification boards are usually administered by the government. Unrated films are effectively banned unless they're exempted; anything that doesn't fit in with the rating systems cannot be shown unless it's educational or sport-related. Incidentally, ''Film/ButImACheerleader'' got an M rating (equivalent to PG-13) in UsefulNotes/{{Australia}}, while ''Film/AmericanBeauty'' got an [=MA15+=] (closer to the American R rating).
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** Outside of America, classification boards are usually administered by the government. Unrated films are effectively banned unless they're exempted; anything that doesn't fit in with the rating systems cannot be shown unless it's educational or sport-related. Incidentally, ''Film/ButImACheerleader'' got an M rating (equivalent to PG-13) in UsefulNotes/{{Australia}}, while ''Film/AmericanBeauty'' got an [=MA15+=] (closer to the American R rating). The irony is that thanks to law, movies given ratings by a government agency would be ''less'' restrictive, not more, since they would toss "moral" objections out the window.[[note]]As a for instance, ''Film/TheCraft'' received an R rating despite scrupulously following the guidelines for a PG-13, and the MPAA told the filmmakers that because the film was about teenage girls performing witchcraft, a PG-13 rating was ''impossible''. Under a governmental oversight body, this would be blatant censorship of religious freedom of speech. In Australia the film was given an MA 15+ rating, which is a middle ground between the M rating (roughly analogous to PG-13) and 18+ Restricted.[[/note]]
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** The irony is that thanks to law, movies given ratings by a government agency would be ''less'' restrictive, not more, since they would toss "moral" objections out the window.[[note]]As a for instance, ''Film/TheCraft'' received an R rating despite scrupulously following the guidelines for a PG-13, and the MPAA told the filmmakers that because the film was about teenage girls performing witchcraft, a PG-13 rating was ''impossible''. Under a governmental oversight body, this would be blatant censorship of religious freedom of speech. In Australia the film was given an MA 15+ rating, which is a middle ground between the M rating (roughly analogous to PG-13) and 18+ Restricted.[[/note]]
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* HilariousInHindsight: The film was co-produced by Creator/{{Netflix}}, in the very beginning of its years doing original content. In 2019, Netflix eventually joined the MPAA, taking Creator/TwentiethCenturyFox's slot after their purchase by Creator/{{Disney}}. Even funnier, Netflix themselves would produce an NC-17 film in 2022, Andrew Dominik's ''Film/{{Blonde}}''.
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* HilariousInHindsight: The film was co-produced by Creator/{{Netflix}}, in the very beginning of its years doing original content. In 2019, Netflix eventually joined the MPAA, taking Creator/TwentiethCenturyFox's slot after their purchase by Creator/{{Disney}}. Even funnier, Netflix themselves would produce an NC-17 film in 2022, Andrew Dominik's Creator/AndrewDominik's ''Film/{{Blonde}}''.
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* HilariousInHindsight: The film was co-produced by Creator/{{Netflix}}, in the very beginning of its years doing original content. In 2019, Netflix eventually joined the MPAA, taking Creator/TwentiethCenturyFox's slot after their purchase by Creator/{{Disney}}. Even funnier, Netflix themselves would produce an NC-17 film in 2022, Andrew Dominik's ''Blonde''.
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* HilariousInHindsight: The film was co-produced by Creator/{{Netflix}}, in the very beginning of its years doing original content. In 2019, Netflix eventually joined the MPAA, taking Creator/TwentiethCenturyFox's slot after their purchase by Creator/{{Disney}}. Even funnier, Netflix themselves would produce an NC-17 film in 2022, Andrew Dominik's ''Blonde''.''Film/{{Blonde}}''.
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* HilariousInHindsight: The film was co-produced by Creator/{{Netflix}}, in the very beginning of its years doing original content. In 2019, Netflix eventually joined the MPAA, taking Creator/TwentiethCenturyFox's slot after their purchase by Creator/{{Disney}}.
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* HilariousInHindsight: The film was co-produced by Creator/{{Netflix}}, in the very beginning of its years doing original content. In 2019, Netflix eventually joined the MPAA, taking Creator/TwentiethCenturyFox's slot after their purchase by Creator/{{Disney}}. Even funnier, Netflix themselves would produce an NC-17 film in 2022, Andrew Dominik's ''Blonde''.
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* UnintentionalPeriodPiece: The film was made in 2006, before streaming services became a viable platform for film distribution., such as the aformentioned Netflix. The problems with the MPAA outlined in the documentary still remain to an extent, but with an increasingly large number of films skipping theaters entirely for streaming platforms, they have significantly less power to keep films from receiving wide distribution because of their content.
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* UnintentionalPeriodPiece: The film was made in 2006, before streaming services (such as the aforementioned Netflix) became a viable platform for film distribution., such as the aformentioned Netflix. The problems with the MPAA outlined in the documentary still remain to an extent, but with an increasingly large number of films skipping theaters entirely for streaming platforms, they have significantly less power to keep films from receiving wide distribution because of their content.
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* UnintentionalPeriodPiece: The film was made in 2006, before streaming services became a viable platform for film distribution. The problems with the MPAA outlined in the documentary still remain to an extent, but with an increasingly large number of films skipping theaters entirely for streaming platforms, they have significantly less power to keep films from receiving wide distribution because of their content.
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* UnintentionalPeriodPiece: The film was made in 2006, before streaming services became a viable platform for film distribution., such as the aformentioned Netflix. The problems with the MPAA outlined in the documentary still remain to an extent, but with an increasingly large number of films skipping theaters entirely for streaming platforms, they have significantly less power to keep films from receiving wide distribution because of their content.
