Taiwan is making an unprecedented splash at the Venice Film Festival! With Shu Qi’s directorial debut competing for the Golden Lion and a record number of cutting-edge XR experiences, the island nation is proving itself a true powerhouse in film and immersive media. What exciting new stories will emerge from this global showcase?
Taiwan is currently experiencing an unprecedented moment on the global cultural stage, commanding significant attention at the 82nd Venice Film Festival. This year marks a historic milestone for the nation, showcasing its burgeoning prowess not only in traditional cinematic arts but also in cutting-edge immersive media, establishing its position as a formidable player in the international entertainment landscape.
A highlight of Taiwan’s robust presence is the highly anticipated directorial debut, “Girl,” by acclaimed actress Shu Qi. This compelling coming-of-age narrative, set against the backdrop of 1980s Keelung, has earned a coveted spot in the festival’s main competition, vying for the prestigious Golden Lion award. This achievement is particularly noteworthy as it signifies Taiwan’s return to Venice’s top tier for the first time in over a decade, following Tsai Ming-liang’s “Stray Dogs” in 2013, underscoring the renewed global appeal of Taiwanese cinema.
Beyond the main competition, Taiwan’s artistic contributions extend into diverse categories. The animated short “Praying Mantis,” a collaborative effort by Joe Hsieh and Yonfan, has made history as the first Taiwanese animated work to be selected for the Horizons short films international competition. This pencil-sketch fable, deeply rooted in rich Taiwanese mythology and presented in Taiwanese Hokkien, exemplifies the nation’s commitment to preserving and promoting its unique cultural narratives through innovative artistic forms.
Master filmmaker Tsai Ming-liang further bolsters Taiwan’s esteemed presence with his new documentary “Back Home” screening out of competition, alongside a meticulously restored version of his 1994 Golden Lion-winning classic, “Vive l’amour,” featured in Venice Classics. These inclusions highlight the enduring legacy and continued relevance of Taiwanese directors on the international film circuit.
However, it is within the realm of immersive media, particularly XR technology, where Taiwan’s footprint is most strikingly pronounced. A record-breaking six Taiwan-led or co-produced projects have secured spots in Venice’s highly competitive XR program. These groundbreaking works, including titles such as “Blur” and “Dark Rooms,” are often supported by significant grants and residencies from the Taiwan Creative Content Agency (TAICCA), demonstrating a strategic investment in the future of digital storytelling and immersive experiences.
Sue Wang, chair of TAICCA, emphasizes Taiwan’s advanced capabilities in both animation and immersive storytelling, noting their increasing visibility at international festivals. Wang points out that these projects, characterized by their diverse themes, sophisticated visuals, and narratives rooted in local culture, offer a vital window for international audiences to experience Taiwan’s rich heritage and innovative spirit.
The momentum also extends to the business sector, with three immersive projects actively seeking international co-financing at the Venice Production Bridge’s Gap-Financing Market. Wang highlights Taiwan’s unique technological advantages, citing a complete tech industry chain with established brands like HTC and ASUS, positioning the nation as an ideal hub for exploring innovations at the intersection of content and technology, fostering a dynamic environment for the evolving film industry Asia.
Despite industry challenges, including a primarily domestic market and the prevalence of small to medium-sized enterprises, TAICCA has proactively forged crucial international partnerships with studios across South Korea, Japan, Singapore, and France. These collaborations are pivotal in enhancing production quality, expanding talent exchange, and facilitating access to global funding and resources, enabling Taiwan to shift towards a dual-track model combining domestic growth with active international touring and distribution for its diverse content offerings.
