Welcome to another episode of Talking TIDF. This is the first in a series of “bonus” episodes in the wake of a successful 2026 festival. Host Cameron and Stefanie are joined by the directors of the short film Colour Ideology Sampling.mov, selected for the Taiwan Competition at the Taiwan International Documentary Festival.

Chan Karen Cheuk-sze, with a background in creative media and the arts, and Kathy Wong, trained in journalism and political science, have been collaborating for several years. They first met while documenting the 2019 Hong Kong protests.

Their film has won multiple awards and screened in Taiwan and internationally, sparking strong audience engagement and discussion.

🎙️In this episode:
➤ How did their collaboration grow out of different media backgrounds?
➤ What role does “art” play in their documentary practice?
➤ How did the project start—and how did it become a film about “political colour”?
➤ How have audiences in Taiwan and abroad responded, and how do reactions differ?
➤ What do in-person screenings and audience discussions mean to them as directors?

🔗Links:

• Colour Ideology Sampling.mov – Taiwan Docs
  https://docs.tfai.org.tw/en/film/7109
• Taiwan Competition – Taiwan International Documentary Festival
  https://www.tidf.org.tw/en/category/shows2026/6057
• Article: Hong Kong filmmaker duo on “political colours” and the Golden Horse Awards
  https://hongkongfp.com/2024/12/14/hong-kong-filmmaker-duo-on-citys-political-colours-and-winning-at-taiwans-golden-horse-awards/
• Hong Kong Independent Film Festival
  https://en.wikipedia.org/wiki/Hong_Kong_Independent_Film_Festival

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In this episode of Talkin TIDF, hosts Cameron and Stefanie are joined by Yannick Dauby, a sound artist born in France and now based in Taiwan. As a field recordist, he works across audio documentary, electroacoustic composition, film sound design, and experimental cinema.

At the 2026 Taiwan International Documentary Festival, Yannick is participating in several projects and events. His directorial work, Bone Always Outlasts Feather, was selected for the Taiwan Competition, and he is also involved in sound collaborations, listening sessions, and a lecture performance.

🎙️In this episode:

➤ What first drew Yannick to sound, and which films or cinematic experiences influenced him most?
➤ How did the creative process behind Bone Always Outlasts Feather develop, particularly the relationship between sound and image?
➤ What attracted him to designing the sound for Amateur in the Moon?
➤ How has his long-term work on coral reefs around Penghu facilitated an exploration of climate change through sound?
➤ What can audiences expect from the listening session Reality through Sound?, presented together with Ernst Karel?

🔗 Links & Show Notes

• Kalerne.net — a platform on sound and environment curated by Yannick Dauby
  https://linktr.ee/kalerne
• Bone Always Outlasts Feather (directed by Yannick Dauby)
  https://www.tidf.org.tw/en/films/157556
• Amateur in the Moon (sound design by Yannick Dauby)
  https://www.tidf.org.tw/en/films/157549
• Lecture performance: Mountains of Time: A Collection of 1930s 16mm Reversal Film
  https://www.tidf.org.tw/en/events/134172
• Listening session: Reality through Sound?
  https://www.tidf.org.tw/en/events/31571

2026 TIDF Yannick Picks

• Punishment Park
  https://www.tidf.org.tw/en/films/157646
• From Island to Island
  https://www.tidf.org.tw/en/films/134154

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In this episode of Talkin TIDF, Cameron and Stefanie speak with LEE Daw-ming, an award-winning filmmaker, scholar, and one of the most influential figures in documentary filmmaking in Taiwan. After studying in the United States, he returned in the early 1980s and played a key role in shaping the field’s development.

At TIDF 2026, the Reel Taiwan section, The Late 1980s on Film, presents four of his digitally restored works. In this conversation, Professor LEE reflects on how documentary in Taiwan evolved alongside technological change and the island’s transition out of martial law.

🎙️In this episode:

➤ What shaped documentary filmmaking in Taiwan in the 1960s and 1970s—and which international works influenced a generation?
➤ Why did 1985 become a “scandalous” year in Taiwan’s documentary history?
➤ How was Beyond the Killing Fields: Refugees at the Thai-Cambodian Border made, and how did synch sound transform documentary practice?
➤ What is your position on ethnographic filmmaking—and how do you view the Sensory Ethnographic Lab?
➤ What was it like to revisit and restore your films for Reel Taiwan?

🔗 Links & Show Notes

• TIDF 2026: Reel Taiwan｜The Late 1980s on Film
  https://www.tidf.org.tw/en/films/157633
• TIDF 2026: FOCUS programme｜“Sensible but Unsayable—A Retrospective of the Sensory Ethnography Lab”: https://www.tidf.org.tw/en/category/shows2026/
• LEE Daw-Ming Filmography: https://docs.tfai.org.tw/en/filmmakers/1864
• The Journey of Taiwan Cinema: from Taiwan New Cinema to post-New Cinema by LEE Daw-Ming (October 2018) : https://taiwaninsight.org/2018/10/31/the-journey-of-taiwan-cinema-from-taiwan-new-cinema-to-post-new-cinema/
• Taiwan Today, Taiwan Review “Voice of the People” (Sept 1996): https://taiwantoday.tw/AMP/Culture/Taiwan-Review/25093/Voice-of-the-People

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