TAICCA Chief Sue Wang Puts IP Commercialization at Heart of Taiwan Strategy

Taiwan's content agency has invested NT$560 million ($17.1 million) in 24 international co-financing and co-production projects as of Oct. 30, with partners in 15 countries and territories. Sue Wang, chair of the Taiwan Creative Content Agency (TAICCA), says that number is not the point. IP commercialization is.

"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 said as the 2026 Taiwan Creative Content Fest (TCCF) opened. The event runs Nov. 6-9 in Taipei.

Wang is blunt about the limits of money. "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," she said.

Without IP with demonstrated market potential, Wang says, investment risks stay high. Even overseas distribution may not turn into sustained sales. TAICCA's sequence is deliberate: strengthen pricing, licensing, branding and audience-development capabilities first, then bring in growth capital and international distribution.

The takeaway: TAICCA is treating commercial skills, not capital, as the bottleneck.

What is on show at TCCF 2026?

The TCCF Market gathers 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 present "April" on Nov. 7 and the 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 direct access to the actors and creative teams behind the titles.

The Forum, themed "Reshape," features 12 talks and panels with more than 20 experts. Topics include international co-production, streaming consolidation, IP, short-form content and AI. The Pitching, Market and Forum sections connect projects with development support, investors, production resources and buyers. Selected Pitching teams can also apply for early-stage support through TAICCA's Cultural Content Development Program.

Which projects carry the flag abroad?

One co-financing example is the 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.

Two funds — 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 said. The slate includes 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 backed the road movie "Lonely Together" and "The Rope Curse 4: Kuntilanak," the latest installment in Taiwan's "The Rope Curse" horror franchise.

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

How does TAICCA view AI?

Cautiously. TAICCA sees AI mainly as a supporting tool for technical work such as animation, visual effects and post-production. Wang says the agency is wary of 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 said. "We don't want to see a situation where people end up working as assistants to AI."

What comes next?

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

If those companies materialize, Taiwan's content sector would shift from project-by-project funding toward a scaled, repeatable production base.