5th September 2025, Kathmandu
Nepal’s creative industries, from filmmaking to music production, have been thrown into a state of uncertainty following the government’s decision to restrict access to unregistered social media platforms.
Nepal Social Media Ban
The move, implemented in accordance with the “Directive on Regulating the Use of Social Media, 2080,” has severely impacted the primary channels of content promotion and revenue, leaving artists and producers worried about their livelihoods.
The government’s directive, which mandates that all social media platforms operating in Nepal must register with the Ministry of Communications and Information Technology, has led to the partial or complete deactivation of major global networks, including Facebook, YouTube, and X.
While some services like TikTok and Viber have complied and remain operational, the unannounced and sudden restrictions on the most widely used platforms have created a domino effect of chaos and financial concern across the creative sectors.
A Halt to Content Releases and Promotion
The immediate impact was felt by filmmakers and musicians with content scheduled for release. The highly anticipated song “Aama” from the film Balidan, which was set to premiere on OSR Digital’s YouTube channel at 5 PM on Friday, was indefinitely postponed.
Producer and director Santosh Sen explained the difficult decision, stating, “Once social media started having issues, we had no option but to cancel. We will only release it when conditions become favorable. For now, the team is still in discussion.”
Director Om Agrawal of OSR Digital, a company that has invested millions in acquiring the digital rights to Nepali films, confirmed that the future of their content releases is now uncertain.
“We must comply with the government’s decision. Hopefully, it will also address public demand soon. Until these platforms are fully reactivated, our content releases will remain on hold,” he said, underscoring the precarious situation faced by production houses.
The problem is not just a delay in releases but a complete breakdown of the promotional ecosystem. Filmmakers and musicians have long relied on a synchronized strategy of uploading content to YouTube and then leveraging the massive reach of Facebook and X to share links and build momentum. With these channels now effectively inactive, the promotional pipeline has been severely disrupted.
Musicians and Livelihoods at Risk
The music industry is particularly vulnerable. Musician Basanta Sapkota expressed his alarm, stating that the sudden decision is a major blow.
“These days, cassettes and CDs don’t sell. Musicians recover their investment only through online content. With platforms shutting down like this, it creates long-term challenges for us,” he said.
Sapkota’s sentiment reflects a modern reality where digital platforms are not just for promotion but are the very source of income for artists through ad revenue and content monetization.
However, Sapkota also acknowledged the government’s right to regulate, emphasizing the need for platforms to comply with national laws.
“With millions of users here, and Nepal being a sovereign country with its own laws, platforms must comply with government directives,” he added, highlighting a common viewpoint that while the regulation is necessary, its implementation has been flawed.
Singer Yash Kumar echoed this concern, arguing that while registration is essential, the government should have adopted a more diplomatic and gradual approach.
He cited the example of his new song, “Halka Halka,” which was released just three days prior to the deactivation.
Despite a multi-million-rupee production budget, the song has only garnered about 450,000 views, a fraction of what was expected, demonstrating the immediate and tangible financial harm to creators. “Suddenly deactivating them has put creators like us in trouble,” he said.
A Looming Threat to Box-Office Collections
The biggest worry now looms over Nepal’s multi-crore film industry. Several high-budget films are lined up for release in the coming months, including Abhimanyu, Jari 2, Balidan, Maitighar, and Haribahadurko Jutta.
These films require massive promotional campaigns and a strong word-of-mouth buzz generated through social media to ensure a profitable run at the box office. With their primary marketing tools rendered useless, filmmakers are scrambling to find alternative strategies.
Producer Santosh Sen voiced the concern of many in the industry. “If these inactive platforms do not reopen in time, we will still have to promote films—if not online, then physically.”
This statement points to a potential return to traditional, more expensive, and less effective methods of promotion, which could further increase the financial risks for producers and investors.
The social media blockade, while intended to enforce legal compliance, has inadvertently caused a crisis for Nepal’s burgeoning creative economy.
The livelihoods of countless artists, from musicians and filmmakers to digital creators and content producers, are hanging in the balance, creating a pressing need for a swift resolution that balances national regulation with the economic realities of the digital age.
For more: Nepal Social Media Ban