This paper adresses the issue of censorship, with a focus on film censorship during the Black Wave period in the former Yugoslavia. The main research question of this paper is how censorship was applied, what types of films were affected by it and why the censored films were considered controversial and offensive. The paper is divided into several sections: an analysis of censorship and its history (from ancient Greece to the first censorship boards in the USA and the UK), and overview of Yugoslav cinema and the use of censorship through film examples and, finally, a detailed analysis of WR: Mysteries of the Organism (1971) by Dušan Makavejev and Plastic Jesus (1971) by Lazar Stojanović. I will particularly explore the political and social context of Yugoslavia after World War II and during the Black Wave period. Using Althusser's theory of ideological state apparatuses, I will analyze how this theory was either accepted or rejected by the representatives of the Black Wave in Yugoslavia and how the censorship served as a tool of political control. I will investigate how Black Wave filmmakers and films 'undermined' dominant cinematic narratives through use of radical aesthetic forms that critically examined the social structure of Yugoslavia. I will mention Hamid Nacify's theory of accented cinema and the concept of exile in the context of selected directors who were forced to continue their careers outside of Yugoslavia. In conclusion, I will argue that censorship significantly restricted creative artistic freedom, but at the same time, led to innovations in cinematic art. Compared to today, we see that censorship takes on different forms. Political censorship still exists in some countries, but today censorship is more often manifested through social norms, regulations and commercial pressured, especially in the era of digitalization, which includes algorithmic censorship.