Jury of TIDF 2026

Jury of Asian Vision Competition

Philip CHEAH

Philip Cheah is a film critic and programme consultant, advising film festivals in Shanghai, Yogyakarta and Hanoi, and serving as Spiritual Advisor to the Bakunawa Fest in the Philippines. He is co-founder of the Southeast Asia International Film Festival and Patron of the SEA Screen Academy in Makassar, Indonesia. He has edited When East Meets East: The Emerging Asian Film Co-Production Landscape and co-edited volumes on Garin Nugroho, Noel Vera and Ngô Phương Lan. His contributions to Asian cinema culture have been widely recognised, including the ASEAN Spirit Icon Award (2023), an award for the promotion of Kyrgyz cinema (2010), an award for Asian Cinema (Cinemanila, 2006), and the Korean Cinema Award (Busan, 2004).

Marlene EDOYAN

Marlene Edoyan has been Artistic Co-Director and Programmer of the Montreal International Documentary Festival (RIDM) since 2021. With a background in film studies, she began her career in animation as a production and artistic director before moving into documentary and hybrid filmmaking as a screenwriter, director and producer. Her work explores migration, displacement, territory and language, weaving geography and history into a distinct cinematic form. Active in the Canadian film sector for over two decades, she has developed and collaborated on numerous auteur-driven works with strong social and political resonance. She has participated in major international platforms including EURODOC, CPH:DOX and Cannes Docs. In 2012, she founded Fauve Film, dedicated to auteur cinema. She also programmes for Tënk, a Montreal-based streaming platform dedicated to independent creative documentary.

HUANG Shu-mei

Huang Shu-mei is a Taiwanese documentary filmmaker who began making her own documentaries in 1991. For over three decades, she has consistently engaged with and addressed environmental and ecological issues through her work. Her major works include An Encounter with Chungliao (2006), Formosa Dream, Disrupted (2007), A Letter to Future Children (2015), A Fight for My Hometown (2017), Coming Home (2020), Battle of Ma Tou Mountain (2021) and Solar Power Revelation (2024).

Jury of International Competition

Peter TAYLOR

Peter Taylor (Belfast, 1974) has been Director of the Berwick Film & Media Arts Festival (BFMAF) since 2015, where he advances plural and decentred approaches to cinema and contemporary art, with a focus on radical aesthetics, collaborative practice and revisionist perspectives on dominant histories. Previously based in Rotterdam for over a decade, he worked as a programmer at the International Film Festival Rotterdam and at WORM, a centre for film, sound and performance. He regularly serves as a curator, mentor and jury member internationally, supporting emerging artists and programmers through long-term collaborations and research. He is a member of the advisory board of the University of St Andrews' Centre for Screen Cultures. Recent projects include co-curating Barbed Wire Love with Myrid Carten, examining artistic responses to the Troubles in Northern Ireland.

SING Song-yong

Sing Song-yong is Professor and Director of the Graduate Institute of Trans-disciplinary Arts at Taipei National University of the Arts. He has curated major exhibitions including Footprints of the Walker: Tsai Ming-liang, The Dawn of Taiwanese Video Art in the 1980s–1990s, and A One and A Two: Edward Yang Retrospective. His research focuses on the aesthetics of contemporary Chinese-language cinema, the intersections between cinema and contemporary art, and the theories and aesthetics of contemporary French cinema. His publications include Projecting Tsai Ming-liang: Towards Transart Cinema and Taiwanese Cineplasticity: Six Cross-Disciplinary Moving-Image Arts in Search of Cinema.

Adjani ARUMPAC

Adjani Guerrero Arumpac is an independent Filipina documentary filmmaker and a tenured faculty member at the University of the Philippines Film Institute, where she has taught documentary filmmaking for over a decade. Her work explores memory, displacement and political struggle, including an autoethnographic trilogy on internal diaspora (Walai, 2006; War Is a Tender Thing, 2013) and a feminist series on iconic Filipino women (Nanay Mameng, 2013; Conchita, 2018). Her films have screened at major international festivals including TIDF, Yamagata, Oberhausen and DMZ, and have been exhibited at the Gwangju Biennale and the Asia Pacific Triennial. She is also active in audiovisual and film archival initiatives, including the Nation, Pedagogy & Cinema cataloguing project. She is the editor of Letters from the Future (2024), a study of Philippine alternative cinema and a finalist for the 2025 Philippine National Book Awards.

Jury of Taiwan Competition

Abby SUN

Abby Sun (she/her) is the Director of Programs at the International Documentary Association and Editor of Documentary, a quarterly print and digital magazine. In 2024, she co-founded the Future Film Coalition, working to support the future of independent film in the United States through research and advocacy. She has also been a Shorenstein Documentary Film Fellow at Harvard Kennedy School, focusing on public-interest media policy. Her writing has appeared in Film Comment, Filmmaker, Film Quarterly, Notebook and Sight and Sound. She has served on juries at major festivals including Hot Docs and DokuFest, and received the 2022 Warhol Foundation Curatorial Research Fellowship.

May Adadol INGAWANIJ

May Adadol Ingawanij is Professor of Cinematic Arts and Co-Director of the Centre for Research and Education in Arts and Media (CREAM) at the University of Westminster. Her research and curatorial work focus on Southeast Asian contemporary art, artist cinema, avant-garde legacies in Southeast Asia, and forms of future-making in global majority artistic and curatorial practices. Working across Thai and English, she has written extensively on artists including Anocha Suwichakornpong, Araya Rasdjarmrearnsook, Nguyễn Trinh Thi, Lav Diaz and Apichatpong Weerasethakul, among others. Her work has appeared in journals such as New Left Review, Screen, Southeast of Now and Afterall. Recent curatorial projects include School for Ghost Activists Archivists (2025), in collaboration with the Ghost:2568 triennial; To Commune (2024), in collaboration with the 69th Flaherty Film Seminar and the Thai Film Archive; LEGACIES (2022–2024); Animistic Apparatus (2019–).

CHANG Shih-lun

Chang Shih-lun is an art critic and image historian whose work examines the intersections of photography, cinema, visual art and documentary practice. He is the author of Reclaiming Reality: On the Historical Formation of Taiwanese Photography (2021) and curator of An Open Ending: Huang Hua-cheng (Taipei Fine Arts Museum, 2020), a research-based exhibition revisiting Taiwan's postwar avant-garde legacy. A long-time contributor to arts and cultural periodicals, his writing engages with visual criticism, film studies and image analysis, offering locally grounded perspectives on the evolution of moving images and aesthetic modernity. He has also translated key texts by John Berger, including Understanding a Photograph and Another Way of Telling, as well as Charlotte Cotton's The Photograph as Contemporary Art. His broader research interests include visual culture, image history, archival studies, music criticism, and the socio-political landscapes of Cold War histories.

Jury of TIDF Visionary Award

S. Leo CHIANG

S. Leo Chiang is a filmmaker based in Taipei and San Francisco. His short documentary Island in Between was nominated for an Academy Award in 2024. His feature documentary Our Time Machine received Emmy and Gotham Award nominations and won prizes at multiple international film festivals. He co-directed episodes of the PBS series Asian Americans, which received a Peabody Award in 2021. His other work includes the Emmy-nominated A Village Called Versailles. He is a co-founder of A-Doc, the Asian American Documentary Network, and a member of the Documentary Branch of the Academy of Motion Picture Arts and Sciences.

Phoebe WONG

Phoebe Wong is a cultural worker whose practice spans writing, archiving and research. With a background in design and anthropology, she focuses on contemporary art, design and visual culture. She was Head of Research at the Asia Art Archive before becoming an independent researcher and writer in 2012. She served as a board member of Videotage from 2013 to 2022, and is currently part-time Head of Research, overseeing the Videotage Media Art Collection (VMAC), which documents nearly 40 years of video and media art in Hong Kong. Her research interests include memory and alternative histories, 'museonomics' (a term combining museology and cultural economics), archiving, data mapping, essay film, and the intersections of art and technology. Her writings have appeared in art plus, Yishu: Journal of Contemporary Chinese Art, and publications by the International Association of Art Critics Hong Kong (AICAHK).

YAMASHITA Koyo

Yamashita Koyo is a Tokyo-based curator and festival director. Since 2001, he has served as Festival Director of Image Forum Festival, one of Japan's leading festivals dedicated to experimental cinema, and since 2005 as Programmer of Theatre Image Forum in Shibuya. He has been invited as a guest curator and programmer for numerous film and media art festivals in Japan and internationally. He has also served on juries for major international festivals, including the Hong Kong International Film Festival, Directors' Fortnight at the Cannes Film Festival, the International Film Festival Rotterdam, Tampere Film Festival, and Minikino Film Week.

Jury of Next Generation Award

WANG Wen-xi, WANG Jo-yun, LEE Yun-cheng, LI Pei-an, CHOU Tsan-ting, CHIU You-an, TU Min-hao, ZHANG Jia-ling, CHANG Wei-heng, CHEN Zih-yu, CHEN Si-ping, HUANG CHU Ke-xin, HUANG Yi, HUANG Chien-jung, TU Yun-rui, HSIUNG Pei-yi, Ava Jai Koffler, LIU Po-ting, CAI Yu-tong, CHENG Shun-en, LAI Yu-kai, TAI Shi-je, CHIEN Tz-yun