One of the most anticipated films in the sidebar of Cannes Critics Week is "Left-handed Girl", a solo film for Taiwanese director Shih-Ching Tsou's first feature-length film. She works with Sean Baker, who is also making pictures.

"Left-handed Girl" follows a journey of a single mother and her two daughters who have recently arrived in Taipei from the countryside and are struggling.

Born and raised in Taipei, Tsou came to New York to work as a graduate student in media studies at the new school. There she met Baker, who won four Oscars in March for his feature "Anora" - born a long-term collaboration. Tsou will produce his first feature film, Four Letter Words, co-directed, 2004's "Take Out," and produced Baker's "Tangerine," "The Florida Project" and "Red Rocket."

Tsou describes her debut as an emotional and profound personal journey. Starting from memory.

“My grandfather once told me that his left hand was ‘the devil’.’ She said it was closely related to me, especially growing up in a traditional Taiwanese family for many years.

"Shooting (movies) has been made for over 20 years of patience, durability and tendency to believe that quiet stories should have a place on the big screen. I also wear multiple hats - writing, directing, making, making - which is about protecting the integrity of the vision while assembling a team that believes in a movie like me," she said.

It was a tweak to the solo in the twenty years of working closely with others.

"I'm used to being involved in every step from position scout, casting, wardrobe to post-production. So collaboration with me means not only sharing credibility, but also sharing trust. In this movie, I have an incredible local crew in Taipei. I keep an incredible department in every department to make sure the tone and rhythm of the movie stays intact," she said.

Tsou points out that for "left-handed girls", joint production of models is crucial.

She worked with producers from the UK and France, and the "Left-handed Girl" also received support from the Taiwan Ministry of Culture through its Film Fund and the Taipei Film Committee's Taipei Film Fund.

"This structure allows the film to benefit from international collaboration while maintaining real Taiwan. When partners are creatively and culturally aligned, co-production can deepen the impact and resonance of the project," Tsou said.

Taiwanese films have always been popular in Europe, especially at the Cannes Film Festival. Between 1994 and 2000, Auteurs Hou Hsiao-Hsien's film and the late Edward Yang were screened six times in the competition.

“The emotional limitations of Taiwanese storytelling really resonate with European audiences. It’s not a loud cinema – it’s patient, subtle and observant. Directors like Edward Yang and Hou Hsiao-hsien show quiet moments.

Homme Tsai, chairman of the Taiwan Creative Content Agency (TAICCA), said the Cannes Film Festival (such as the Cannes Film Festival) is an important part of efforts to increase its status and popularity on the wider stage.

“Joint production can effectively strengthen technical cooperation in the Taiwan film industry. As international co-production, such as 'Shameless' and 'Mongrel' and 'Mongrel', have consistently succeeded in major film festivals and other important global events, they also help to establish visibility in Taiwan and Europe on the international stage,” Tsai said.

"Today, the Taiwan film industry can strengthen its foundation by promoting international joint ventures and working with other countries to jointly establish investment funds," Tsai added. "With the support of the sauca fostering industry corporate ties, the Taiwan film industry will be integrated with the global market."

Tsou said it was a dynamic moment for Taiwanese filmmakers.

"The new generation of filmmakers in Taiwan is pushing boundaries while still driving the traditional appeal politically, socially and visually. International interest is growing in Taiwan's cinemas and I hope it can translate into real support: stronger funding, more meaningful co-production and more meaningful voices, and no more heard," she said. ”

Asked about her advice on potentially becoming a producer and director, Tsou said the key is not to chase the trend and focus on the truth.

“Audiences can tell when movies are honest, even if it’s unconventional. If you’re a director, you have to be on the long road, rejected and misunderstood, for a while. But if you stick to your point of view and protect it, it’s when you’re real and lasting things can be done.