Taiwan’s screen sector is moving with unusual speed, and the latest TAICCA joint venture funds showcase makes that momentum hard to ignore. From the upcoming Our Blues remake for Netflix to continued backing for Japan’s Midnight Diner, TAICCA and its partners are building a funding model designed to turn Taiwanese stories into regional and global hits.
Presented during a TCCF showcase, four funds created with the Taiwan Creative Content Agency (TAICCA) and private-sector partners revealed a slate spanning drama series, feature films, children’s programming, live events, musicals and immersive exhibitions. The common thread is clear: Taiwan is not just financing content, it is shaping a broader entertainment ecosystem with cross-border potential.
TAICCA joint venture funds spotlight a diversified content strategy
The four TAICCA-backed funds are structured to spread risk while targeting different corners of the entertainment market. According to TAICCA leadership, these ventures are run by professional fund managers with a focus on governance, portfolio planning and long-term sustainability.
That matters because the model goes beyond one-off production support. Instead, the TAICCA joint venture funds are investing across:
- Premium drama and international co-productions
- Children’s and family programming
- Transmedia and IP development
- Film, television, live performance and immersive experiences
This broader approach reflects how audiences now consume stories across multiple formats, while also helping Taiwanese creators reach buyers, streamers and collaborators across Asia and beyond.
Our Blues remake leads Enjoy Entertainment’s premium slate
Among the headline projects is the Our Blues remake, a Taiwanese adaptation of CJ ENM’s acclaimed Korean series. Backed by Enjoy Entertainment, the show is set to premiere on Netflix on December 3, giving the project immediate international visibility.
Enjoy Entertainment was established by TAICCA, Far EasTone Telecommunications and Far Reach Entertainment, with a mandate to invest in premium content and international co-productions. In just one year, the fund has made 15 investments, signaling an aggressive push into scalable entertainment properties.
Its portfolio also includes recent box office performers such as:
- The Rope Curse 4: Kuntilanak, a Taiwanese horror title that reportedly grossed about $2.5 million in local cinemas
- 96 Minutes, an action feature aimed at commercial audiences
The regional rollout of The Rope Curse 4 in markets including Malaysia and Indonesia shows how localized storytelling can still travel when genre, tone and execution align with wider audience tastes. That principle sits at the heart of the TAICCA joint venture funds strategy.
Beyond screen content, Enjoy has also put money into the ID Music Festival, stage musicals including Her Voice and Don’t Cry Dancing Girls, and an immersive exhibition inspired by illustrator Jimmy Liao. It is a reminder that IP value increasingly extends far beyond film and television alone.
Midnight Diner and cross-border IP partnerships strengthen regional ties
Another major talking point from the showcase was support for Midnight Diner. Joint Journey Creative, or JJC, has joined the production committee for multiple seasons of the popular Japanese drama, including season six.
Founded in 2025, JJC brings together SET Group, TAICCA, Chunghwa Telecom and Japan’s The Far Eastern TV Entertainment. Its emphasis is on transmedia development, intellectual property growth and stronger production links between Taiwan, Japan and other global markets.
The fund’s involvement with Midnight Diner is significant for two reasons:
- It positions Taiwanese capital and expertise within a proven Japanese franchise.
- It creates practical industry relationships that can lead to future co-productions, format deals and talent exchanges.
JJC is also investing in talent development through incubator programs, including a romance drama workshop that introduces Taiwanese creatives to Korean and Japanese producers. This kind of behind-the-scenes bridge-building may prove just as important as the headline projects themselves.
Kids content gets a boost through the Momomini fund
One of the most notable gaps the TAICCA joint venture funds are trying to address is children’s drama. The Momomini Kids Content Fund, launched with TAICCA and supported by the Fubon Cultural & Educational Foundation and DaWin Creative, has made six investments in its first year.
Its slate includes animation, live-action and reality formats such as:
- Who’s Our Sub Today
- Feifei, based on stories by artist and author Bei Lynn
- Mogu & Perol, a collaboration with France’s Zephyr
- Having Fun In The Mountains
- Hello Mr President, a drama about a child traveling to Taipei to meet Taiwan’s president
That last title stands out because locally produced kids and teen drama has been relatively rare in Taiwan. If successful, it could help reopen an underserved segment of the market while proving that culturally specific youth storytelling still has commercial and social value.
Chunghwa fund targets scale, equity and global reach
The Chunghwa Digital Cultural and Creative Fund adds another layer to the TAICCA joint venture funds framework. Established by TAICCA, Chunghwa Telecom and E.Sun Bank, the fund has capital of roughly $30 million and a clear mission: help Taiwanese cultural content find larger international audiences.
Its activity includes equity investments in companies such as Damou Entertainment, known for The World Between Us, and Horiza Creations, which operates in IP development and publishing. It is also supporting projects like:
- C’est La Vie
- Call Of Lobster
- Indie band Shallow Levee’s tour Speak in Silence
This mix of company-level investment and project financing gives the fund flexibility to support both immediate productions and longer-term industry capacity.
Why the TAICCA joint venture funds matter for TV and video
For anyone tracking Asian entertainment, the bigger story is not just the Our Blues remake or Midnight Diner. It is the emergence of a sophisticated financing system that connects telecoms, media companies, banks and public cultural policy.
The TAICCA joint venture funds could become a case study in how smaller markets build international leverage. Key strengths include:
- Diversified investment across genres and formats
- Cross-border partnerships with Japan, Korea, Europe and the U.S.
- Support for both commercial hits and cultural storytelling
- Talent incubation alongside direct financing
For the TV and video business, that combination is especially powerful. Streamers need adaptable local content with international appeal, while regional producers need financing structures that reduce risk and encourage collaboration. Taiwan appears to be moving decisively in that direction.
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Conclusion
The TAICCA joint venture funds are doing more than financing a handful of projects. They are building infrastructure for Taiwan’s future in screen entertainment, from the Our Blues remake and Midnight Diner to kids programming, live experiences and original IP. If this strategy continues to deliver, the TAICCA joint venture funds may become one of the most closely watched content investment models in Asia.
