Technology, Women, and Taiwan’s Situation: Observations from L.U.C. at the 38th Tokyo International Film Festival
Culturally speaking, the Tokyo International Film Festival (TIFF) is an extra-jurisdictional enclave within the U.S. Asia-Pacific First Island Chain. Here, Japan acts as the host, managing its position as the international host of the Asia-Pacific order, softening the saber-rattling of geopolitics and military confrontation; in its place is the exchange and cooperation of art and commerce, and China has always been Japan’s largest cooperative partner.
But here, some things are changing.
Following our visit to the 37th TIFF last year and our subsequent writing of “An Extraterritorial Land Under U.S. Containment: Observations from L.U.C. at the 37th TIFF,” we returned to the festival and its market (TIFFCOM) simultaneously at the end of October this year. Surprisingly, in just one year, what we saw was a completely different Japanese “meteorological atmosphere.” This begins, of course, with that kind of confidence; we can feel Japan emerging from years of self-deprecation and increasingly taking on the role of the cultural leader of the Asia-Pacific as a matter of course.
And as if preordained by destiny—
Hardly had we left the festival when Prime Minister Sanae Takaichi (as depicted in this context) was forced by a strategic political setup to make the historic statement: “A Taiwan contingency is a Japan contingency.”
When technology, talent, and systems face a historical turning point and undergo collective change, politics is perhaps merely the last tip of the iceberg to float to the surface. We believe that compared to the subsequent violent changes, what is happening now at TIFF is but a prelude. Due to our deeper participation this time, it took us a full month to synthesize these observations. Before we unfold our three major dimensions, let us get straight to the point for those short on time:
“If you are heading onto the international stage, Japan is absolutely the most suitable first stop. And if you are a film and television professional—whether big or small—TIFF is a film festival you must visit, because here, you can observe the concrete posture of ‘Japan is back‘.”
We cannot expect miracles in the next election. Faced with a government being maliciously paralyzed, the people must act to connect with the international community.
1. How to Reach a New Future Without New Technology?
“After deep reflection, we have now moved to a stage of ‘smart AI usage’ rather than an all-or-nothing approach.” — MooAm
All new situations and all “reshuffling” come from new technologies being used to solve existing deadlocks. While Taiwan is just entering the era of universal AI usage and falling into ethical controversies over whether it should be used—let alone Europe, which has entered a balance of ethics and the rule of law, or the U.S. and China, which long ago decided to prioritize development to fight for dominance—other Asian countries like South Korea have long begun holding AI competitions. This didn’t happen suddenly; it is an inheritance from the technical competition culture when AlphaGo challenged the human Go champion.
Today, in technical competitions alone, there are, for example, the Samsung AI Challenge, NAVER Vietnam AI Hackathon, and various competitions by KAIST (Korea Advanced Institute of Science and Technology). These involve multiple application developments such as image recognition, video understanding, video content classification, auto-tagging (metadata), image reconstruction, deblurring, and low-quality enhancement. For instance, the famous South Korean Bucheon International Fantastic Film Festival (BIFAN) this year upgraded last year’s first international AI film competition, “Bucheon Choice: AI Films,” to launch an international AI film competition section, introducing awards for Best Film, Best Technology, and Audience Choice. Besides shorts, it also accepts features, medium-length films, and even XR works.
MooAm, seen at the TIFFCOM market, is one such South Korean AI film company brave enough to break into Japan. This startup, with an average age under 30, has existed for less than five years but has already won various awards from home and abroad, such as the U.S. or France, and holds a place in industry, government, and academia. They actively promote the cultural performance of Korean content through AI technology and frequently appear at AI film festivals around the world, such as:
- Cannes International AI Animation Film Festival
- Venice Artificial Intelligence Film Festival
- New Wave AI Film Festival (USA)
- Turkey Artificial Intelligence Film Festival…
Besides all-AI content, they are launching their first feature film Death Business and dating reality shows like Be My K Guide in 2025, collaborating with the Japanese streaming platform Lemino. An anonymous MooAm staff member onsite told me that they are also continuously thinking about how to use AI better, because human emotions should never be overridden by AI technology. How to use AI to reduce production costs while retaining the emotion of live-action works is something they will continue to contemplate.
At the same time, Kling AI (可靈), the famous Chinese AI application company used by many in Taiwan, also showcased their short film Echo Hunter: A Memory Too Far (迴聲殺手：過遠的記憶) at TIFFCOM. This is a violent sci-fi film directed by Western AI director Kaven the Kid with a Western voice cast; it has 330,000 views on YouTube, and many foreign language comments express their love. This film demonstrates the power of Chinese technology combined with a lack of censorship and illustrates Kling’s potential as an AI production tool. Especially through proper editing and good music/sound effects, we can almost ignore the brief fragmentation and lack of continuity in each shot, especially since we are already accustomed to fast-paced imagery.
We cannot deny China’s speed of response in the market. Besides AI tools, they also showcased IPs like Budding Bear (萌芽熊), which is child-oriented and “healing.” Through a combination of “short animation + vertical animation,” it has 13 million followers on Douyin and a single-video record of over 80 million views. Its total network views have exceeded 8 billion, with nearly a thousand licensed products, and it is highly popular in the food and parenting industries. It has become a companion for many children’s growth and even a sanctuary for weary adults.
Such strength and configuration (short animation x vertical animation) suited for contemporary media environments is formidable even in Japan, where ACG is a specialty. However, Japan has not let China have all the glory. SPWN, an online event platform under Balus Inc., has recently played a key role as an online paid venue for VTubers, voice actors, and subculture events. They have also begun bringing the same logic of “low-cost, rapid production, and recyclability” back to animation production itself, attempting a “quiet revolution” in the animation world.
The most representative attempt is the Light Novel Anime Anthology Project (officially ラノベアニメ【公式】) led by their Ziine Studio. This isn’t just adapting existing light novels into TV anime; it’s an animation experiment premised on “Short Anime,” “Web-First,” and “Minimized Workflows” from the very beginning. By shortening episodes, reducing the drawing burden, and reusing existing IP worlds, this experimental project seeks to solve the structural problems that have long stalled the Japanese animation industry—where every adaptation becomes an expensive and high-risk gamble.
To some extent, this also continues SPWN’s consistent thinking as a platform: Not pursuing the loudest volume, but letting content “be able to be made, be seen, and be able to survive.” When animation is no longer seen as the only final destination but as a repeatedly launchable module within an IP workflow, the Japanese content industry is also starting to use methods closer to contemporary media environments to respond to the viewing reality dominated by short video, short animation, and mobile devices, while continuing their talent strength of having numerous content creators.
Through these companies appearing at TIFFCOM, we can see Japan’s internationality and foresight, which also makes us reflect on the current dual dilemma in Taiwan: one is the poverty of discussion caused by the absence of technology, and the other is the development lag caused by government paralysis. Time is a relative thing; when everywhere else accelerates and we remain stationary, it is equivalent to choosing to retreat. Speaking of retreating, we can talk about women. After all, Taiwan is one of the top places in the world and even in Asia for women’s rights and development, losing only to Singapore at most.
2. Are Women the Key to Taiwan’s Cultural Breakthrough?
Although “Taiwan-Japan Friendship” is a slogan many Taiwanese have on their lips, and according to statistics from the Tourism Administration, Japan is the most loved travel destination for people from Taiwan, we had to wait until last year for Daughter’s Daughter (女兒的女兒) to break the nearly 20-year drought of Taiwanese films not entering the TIFF Main Competition. It is evident that our depth of participation in Japan’s largest and most important film festival has long been lacking.
Of course, this isn’t entirely our fault, as Chinese filmmakers have long been ultra-strong competitors at TIFF, with huge influence from both corporations and the government. This is easy to see just by looking at the backgrounds of the members sent to TIFF; having just the National Radio and Television Administration (NRTA) is hardcore enough.
We have already introduced in more detail in Savoir’s “Why Women? The Reality of Female Power at TIFF” what specific efforts TIFF has made to “inject female power” to transform this festival that belongs to a “man’s world,” and how much information and inspiration it has brought. Here, we want to emphasize that Taiwanese female creators will have a huge advantage at TIFF 2026.
We have three advantages:
First.
Although Taiwan has had “Taiwan Cinema Specials” since the 18th TIFF in 2005, and in 2010 even renamed it “Taiwan Cinema Renaissance 2010: New Breeze of the Rising Generation,” we only started having a stable annual “Renaissance of Taiwanese Cinema” (臺灣電影文藝復興) section since 2023. This is a project co-organized by the Taiwan Cultural Center in Japan (Ministry of Culture) and TIFF. It is a section specifically set up by TIFF for Taiwan; no other country has this, so its exposure is very effective. This is also why we cannot fight alone, because it requires the establishment of three conditions: Volume x Quality x Communication.
Second.
TIFF’s promotion of female works is truly done with great sincerity. As detailed in“Why the Tokyo Film Festival? Why women? — A retrospective look at the evolution of the film festival system through political moments.,“ whether looking at the female film competition, female film lectures, and every aspect from festival ambassadors to judges and various award results, for Taiwanese people in various fields—be they female audiences, creators, media professionals, investors, or people of other genders—this is an international and authoritative film festival closest to Taiwan. And now it is once again becoming a key hub for Asia-Pacific IP exchange. Compared to European or American film festivals with completely different rules, we recommend TIFF for those interested in promoting Taiwanese female works. Because in this era where gender is becoming more equal and technology is crossing physical barriers, the community-building power and non-zero-sum abilities that women have been trained in through generations of hardship will provide a deeper and stronger growth for the festival.
Third. Why 2026?
As mentioned, as of the submission deadline (12/28), the tide of Japanese companies withdrawing from China, such as Sony, has not shown a trend of warming relations. On the contrary, China has intensified the atmosphere of discriminating against Japanese ACG and cosplay, directly causing many animation festivals to ban such costumes. Recently, the Bandai concert in Shanghai and Ayumi Hamasaki’s performance were called off. Simultaneously, information chains show a high degree of political dominance trying to make the Japanese PM bow in exchange for economic security; they did not expect the explosive counter-reaction from Takaichi and the Japanese public opinion she represents.
Undoubtedly, this is not something Chinese filmmakers or companies closely cooperating with Japan want to see. At TIFFCOM, we see a cooperative relationship where both sides get what they need, but Sino-Japanese relations are beyond their decision. According to the subsequent developments of the Golden Horse 55 incident, the 39th TIFF in 2026 will inevitably undergo “de-Sinicization” because of this political-dominance model of China. Unless Prime Minister Takaichi lowers her stance—which might jeopardize her current popular base—there is a strong possibility that next year, China may be absent from both TIFF and TIFFCOM.
The question is, when various vacuums are created, which international partners are prepared to fill them? Undoubtedly, it won’t be South Korea first, because South Korea has its own leading Busan International Film Festival (BIFF). Taiwan working with other countries to fill it is definitely more than enough and holds a competitive advantage. I will always remember that networking night at TIFF, when director Annemarie Jacir sighing about the difficulties of promoting her film Palestine 36 (巴勒斯坦 36) internationally, and how the new curator Andrijana Cvetkovikj listened to her patiently and encouraged her. A few days later, it won the “Tokyo Grand Prix / The Governor of Tokyo Award” and entered the Oscar shortlist. Taiwan is not Palestine, but a Palestinian director let us know the importance of persistently speaking out for one’s home and people: reflect during war and seek beauty within the ugly.
3. What Should the Private Sector Do When the Government is Paralyzed?
“Existing budgets are already small, but through our long-term work, we have accumulated the most efficient ways to promote under such costs. Why stop all this because of confrontation?”
“The overseas cultural promotion budget should not be cut because of the confrontation between the ruling and opposition parties. Restoring the brand trust and relationships built with great effort is very difficult once they are destroyed.”
At “Taiwan Night,” Tseng Chien-lung, Director of the Taiwan Cultural Center in Japan, told us that their mission is to bring Taiwanese works into schools so that Japanese students can know Taiwan through these media. This long-term work is the best advertisement for Taiwan’s reputation.
This reminds us of Lin Hsi-hui, President of the Taiwan TV Series Production Industry Federation, and his wife, busy at the Taiwan booth and the Taiwan Night venue. How to continue to condense Taiwan’s film and TV cultural power and deepen the quality of exchange has always been their greatest concern. Through their arrangements, latest Taiwanese series like San Francisco Beauty Salon (舊金山美容院), Turn Around and Wipe Your Tears (轉過頭幫你擦眼淚), and Wish Upon a Star (向流星許願的我們) were able to get early exposure in Japan.
This is a competitive mindset to duel with Thailand. Since China’s crackdown on the LGBTQ+ community, Thailand has produced stable LGBTQ-friendly works with market value. TIFFCOM also had lectures like “Thai BL & GL’s Magic,” illustrating that Thailand, which launched the “IGNITE THAILAND” investment plan, is fully prepared for the next round of soft power competition. Moreover, the secret alliance with Japan, as shown in TIFFCOM’s “Special Session: Co-production Seminar,” illustrates how Japan, as Asia’s cultural host, embodies contemporary trends.
Why is TIFF/TIFFCOM so important? Because in Tokyo, we can see what the truly vital focus of the cultural industry and battlefield for our next generation is. We discover that while all Asian countries are striving forward, it is shameful and short-sighted for our legislators to say that creators receiving subsidies are “beggars.” Legislators should review laws and budgets with a professional mindset, taking national development as the primary consideration. However, it is a pity that our current legislators are instead indifferent to the long-term development of the country while conducting political struggles.
When the government’s neck is being throttled, it is time for the private sector to launch a collective resistance like “Operation Dunkirk.” I am speaking of all consumers, investors, and creators who care about technology, women, and Taiwan. The way to resist is not to join the current chaotic gladiatorial arena of legislators, but to conduct more organized and strategic international cooperation considered over five or ten years.
Japan will be an important first stop. This is a country that, even in 2025, can still have a female director Mizuho Terasaki film a documentary about the senior critic Tadao Sato, titled Tadao Sato: A Journey in Cinema (佐藤忠男、映画の旅). Can you imagine Taiwan producing a documentary about a film critic? On land that also has a century of film history, the Japanese have regained the confidence to express to the outside world the cultural fields they have long cultivated. Why do we still lack confidence?
If we were truly such an insignificant place, why would the producer of the Sato documentary, Mr. Hiroyuki Kawaida, sincerely and with high interest ask L.U.C. for recommended Taiwanese festivals for their work?
What we want to express is that although Taiwanese people are frequently frustrated in politics, the expectations of us from the international community, such as Japan, remain very deep. Perhaps in moments of extreme despair, we should face our advantages and, while Japan and TIFF continue to stand firm in the Asia-Pacific, think about exactly what role we can play, rather than missing opportunities through self-deprecation. Perhaps that is the most practical thing.