Industry

Taiwan is strengthening its international profile at the 2026 Cannes Film Festival and Marché du Film through a slate of projects spanning immersive experiences, restored cinema, comic IP and co-production initiatives. Across screenings, market showcases and networking activities, the Taiwan Creative Content Agency (TAICCA) is expanding the global reach of Taiwanese storytelling and deepening ties with international industry partners.
TAICCA Chairperson Sue Wang led this year’s delegation in Cannes, meeting with industry professionals as well as representatives from national film and content agencies across Europe and Asia. According to Wang, discussions frequently shifted from individual projects to concrete collaboration opportunities. “Across both the market and post-screening discussions, we could feel that international industry professionals were not only responding to the stories themselves, but were already thinking about how these projects could evolve through future partnerships and co-development,” said Wang.

One of Taiwan’s strongest presences this year came from immersive storytelling. Playing With Fire: An Immersive Odyssey With Yuja Wang, selected for the Immersive Competition, drew significant audience attention, with queues forming ahead of screenings. The multisensory installation, blending music, light and spatial design, generated strong word-of-mouth and positioned Taiwan’s immersive sector as a growing force in the international XR space. Following the presentation, several international curators and cultural institutions approached the creative team to explore potential collaborations, signaling sustained global interest in the format.
Taiwan’s XR presence also extended to the Taiwan Immersive Showcase at the Carlton Hotel. Hosted in a 450-square-meter five-sided projection space, the exhibition allowed visitors to freely explore a range of Taiwanese XR works. The format encouraged direct interaction between audiences and creators, with many attendees remaining after screenings to continue discussions and exchange feedback, reinforcing the showcase’s highly participatory environment.

Taiwanese film restoration also drew attention at Cannes through The Dull-Ice Flower (RESTORATION), selected for Cannes Classics. The screening attracted a full international audience of programmers, cinephiles and festival guests, with strong emotional reactions throughout. The restoration reaffirmed the long-term resonance of Taiwanese cinema across generations. Taiwan Film and Audiovisual Institute Chairperson Arthur CHU and cinematographer Mark Lee Ping-bing joined a pre-screening discussion on the film’s legacy and restoration. “I have always believed that every film has its own life. The fact that The Dull-Ice Flower can return to audiences 37 years later is proof of cinema’s enduring vitality,” said cinematographer Mark Lee Ping-Bing. Arthur Chu also noted that novelist Chao-Cheng Chung, whose work inspired the film, was recently commemorated with an asteroid named in his honor. “When audiences look up at the stars in the future, we hope they will also remember this film and Taiwan’s literary legacy.”

Taiwanese IP and adaptations
Taiwanese intellectual property also gained traction in the market. The Echo Before Dawn by Langchi, selected for the Shoot The Book! program, was presented by literary agent San LIN. The project received immediate interest from multiple international producers and production companies, with discussions continuing beyond the official pitching session and focusing on adaptation potential.
Industry networking events also played a key role in Taiwan’s Cannes presence. The Happy Hour: TAIWAN HODALA gathering brought together international buyers and Taiwanese professionals, enabling cross-border introductions and early-stage collaboration talks. "We are here to connect creators, partners, and opportunities across borders and industries," said Sue Wang.

Co-production discussions continued throughout the market, particularly during the Spotlight Asia program, where producers and institutional representatives from Europe, Asia and North America met for funding talks and strategic exchanges. Interest in Taiwanese partnerships grew steadily across sessions, with conversations frequently extending beyond official panels into informal meetings focused on development frameworks and regional collaboration.
At the Taiwan Pavilion, international buyers and industry professionals continued to explore a curated slate of Taiwanese projects spanning animations, horror and thriller. Titles including the Dead End attracted ongoing inquiries from distributors, festival programmers, and potential partners throughout the market.