Taiwan’s Content Agency Chief Sue Wang Puts IP Commercialization at Center of Strategy

Sue Wang, chair of the Taiwan Creative Content Agency (TAICCA), says Taiwan’s content industry should make IP development and commercialization its top priority.

“The challenge is not simply whether we can create good content, but whether companies have the capabilities and business models to turn creative ideas into sustainable revenue, build scalable businesses, and reach audiences across different markets,” Wang says as the 2026 Taiwan Creative Content Fest (TCCF), which runs Nov. 6-9 in Taipei, gets underway. “Without a viable business model that has been tested in the market, simply introducing more funding or investment programs will not necessarily create a sustainable growth cycle.”

Wang says that without IP with demonstrated market potential, investment risks stay high, and even overseas distribution may not turn into sustained sales. TAICCA wants to help businesses strengthen their pricing, licensing, branding and audience-development capabilities first, then bring in growth capital and international distribution.

As of Oct. 30, TAICCA had invested about NT$560 million ($17.1 million) in 24 international co-financing and co-production projects across feature films, series and animation, with partners in 15 countries and territories. One example is Taiwan-Japan film “Arrested Memory,” selected for Venice Open – Out of Competition at the 83rd Venice Film Festival and the Midnight Madness section of the 51st Toronto Film Festival.

TCCF’s Market will bring together 107 exhibitors from seven countries and territories. Exhibitors in IP categories such as publishing, comics and characters have increased 13% from last year.

The first Spotlight Screenings will present “April” on Nov. 7 and Taiwan-Singapore series “See You at 11pm” on Nov. 8. Wang says the goal is to raise the international profile of Taiwanese actors and give buyers a chance to meet the actors and creative teams behind the titles.

This year’s Forum, themed “Reshape,” will feature 12 talks and panels with more than 20 experts on topics including international co-production, streaming consolidation, IP, short-form content and AI. TCCF’s Pitching, Market and Forum sections connect projects with development support, investors, production resources and buyers. Selected Pitching teams may also apply for early-stage support through TAICCA’s Cultural Content Development Program.

Wang says TAICCA wants to deepen ties with France in Cultural Tech, building on more than a decade of cooperation. The Taiwan-France Cultural Award will mark its 30th anniversary in 2027. With South Korea, the agency hopes to expand collaboration beyond screen content into independent music, live venues, festivals and the performing arts.

The Taiwan-Korea Entertainment and Cultural Content Fund and the Far EasTone Creative Entertainment Fund’s Enjoy Entertainment Limited Partnership have approved investments in 12 projects, mobilizing about NT$600 million ($18.3 million) in private capital, Wang says. Projects include the Kaohsiung Park Music Festival, developed with CJ ENM’s Seoul Park Music Festival; the 2026 ID. Music Festival, in collaboration with Spotify; and the concert IP “Her Voice: The Fearless Female Voice.” On the film side, the funds have backed road movie “Lonely Together” and “The Rope Curse 4: Kuntilanak,” the latest installment in Taiwan’s “The Rope Curse” horror franchise.

TAICCA sees AI mainly as a supporting tool for technical work such as animation, visual effects and post-production. Wang says the agency is cautious about generative AI in core creative work, including scriptwriting and music composition, citing uncertain public acceptance and the amount of human correction AI-generated material can require.

“There is no established playbook or ready-made solution for navigating the changes currently taking place in the industry,” Wang says. “We don’t want to see a situation where people end up working as assistants to AI.”

Over the next three years, Wang hopes to see several medium-sized or larger production companies emerge, each producing more than 10 titles a year. She also wants international co-production to become a regular practice and more private and technology-sector investment to flow into Taiwan’s content industry.